Brown magenta empowerment, 2022
Painting : mixed media · 80 x 59.7 cm 31.5 x 23.5 inch
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
mixed media on board
Dimensions ( cm • inch )
80 x 59.7 cm 31.5 x 23.5 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2021 • Top Seller
Description
Sculptural dot painting, mortar-gypsum mixture with color pigments, 15 layers on recycled truck tarpaulin.
Women, and their empowerment, are a constantly recurring element in the works of Patrizia Casagranda, whether as a movie star, princess, mythological figure, rubbish collector from India or a member of a particular faith. "I think women are great," the Krefeld, Germany artist and mother of three daughters states. The juxtaposition of these portraits create a tension that is both evocative and aesthetic.
Patrizia travelled to India, where she met the rubbish girls from the Indian snake caste, the Kabelia, who gave her their rubbish finds, which she in turn used, literally, as the basis of her works. The idea of her art was born, the recycled materials "from the street", such as truck tarpaulins, pieces of jute, fabric, paper or cardboard, are overlaid with "15 to 20, sometimes more" layers of painting, consisting of a mortar-gypsum mixture enriched with pigments.
Patrizia also wants the viewer to contemplate what the word type fragments are on her paintings; these can be a poem or even Charlie Chaplin's speech from the film The Great Dictator.
At first sight, these works appear very illustrative and aesthetic. However, the deceptive use of materials unveils a continuous array of new levels and perspectives; the fragility of the seemingly crumbling layers of paint, the lace and fibres that have been incorporated, as well as the relief-like impasto brushstrokes merge into a symbiosis of ancient murals from a long past epoch with that of contemporary modern art.
Her compositions have a fascinating depth effect. When they are observed from close up, the effect can be compared to the works of the Pointillists: the motif looks like an abstract painting consisting of grid points, whose pictorial content is only revealed at a distance.
Patrizia has won two prizes at the Florence Biennale and has been nominated for the German Art Prize among other major awards. Her work is part of major collections in Europe, USA and Australia.
Women, and their empowerment, are a constantly recurring element in the works of Patrizia Casagranda, whether as a movie star, princess, mythological figure, rubbish collector from India or a member of a particular faith. "I think women are great," the Krefeld, Germany artist and mother of three daughters states. The juxtaposition of these portraits create a tension that is both evocative and aesthetic.
Patrizia travelled to India, where she met the rubbish girls from the Indian snake caste, the Kabelia, who gave her their rubbish finds, which she in turn used, literally, as the basis of her works. The idea of her art was born, the recycled materials "from the street", such as truck tarpaulins, pieces of jute, fabric, paper or cardboard, are overlaid with "15 to 20, sometimes more" layers of painting, consisting of a mortar-gypsum mixture enriched with pigments.
Patrizia also wants the viewer to contemplate what the word type fragments are on her paintings; these can be a poem or even Charlie Chaplin's speech from the film The Great Dictator.
At first sight, these works appear very illustrative and aesthetic. However, the deceptive use of materials unveils a continuous array of new levels and perspectives; the fragility of the seemingly crumbling layers of paint, the lace and fibres that have been incorporated, as well as the relief-like impasto brushstrokes merge into a symbiosis of ancient murals from a long past epoch with that of contemporary modern art.
Her compositions have a fascinating depth effect. When they are observed from close up, the effect can be compared to the works of the Pointillists: the motif looks like an abstract painting consisting of grid points, whose pictorial content is only revealed at a distance.
Patrizia has won two prizes at the Florence Biennale and has been nominated for the German Art Prize among other major awards. Her work is part of major collections in Europe, USA and Australia.
Presentation
The works of Patrizia Casagranda are an alluring invitation to dream, the opportunity to take your thoughts on a fascinating inner voyage. Looking upon these charming women‘s portraits, you are led to believe that they have originated from an alternate bygone era and world, although they clearly depict the faces of modern young women.
Casagranda creates expressive connections through the coalescence of collage, painting and graffiti - the complexity she thus achieves in her paintings is fascinating. At first sight, these works appear very illustrative and aesthetic. However, the deceptive use of materials unveils a continuous array of new levels and perspectives; the fragility of the seemingly crumbling layers of paint, the lace and fibres that have been incorporated, as well as the relief-like impasto brushstrokes merge into a symbiosis of ancient murals from a long past epoch with that of contemporary, modern art.
Through the apparent weathering of her works as well as random corrosion pro- cesses, damaged metal, torn and yellowed paper and structures, which are reminiscent of crumbling plaster, and decay, Patrizia Casagranda portrays a transitory world; however, it is one that also encompasses a piece of eternity. This transience - which is evident in both the material and the depiction of youthful beauty - is, on the one hand, part of „Vanitas“ symbolism, which is repeatedly used in art, but, on the other hand, proves to be a reflection upon the fast-paced media landscape and its rapidly changing advertising strategies and ideals for beauty.
Through their almost tangible materiality, Patrizia Casagranta‘s works offer a remarkable level of fascination – which is quite rare in a world where we see an ever growing abundance of digital art. Layer for layer, they reveal their soul to the observer and what lies beneath. You can read these paintings; you can wander through them and even lose yourself in them.
Casagranda creates expressive connections through the coalescence of collage, painting and graffiti - the complexity she thus achieves in her paintings is fascinating. At first sight, these works appear very illustrative and aesthetic. However, the deceptive use of materials unveils a continuous array of new levels and perspectives; the fragility of the seemingly crumbling layers of paint, the lace and fibres that have been incorporated, as well as the relief-like impasto brushstrokes merge into a symbiosis of ancient murals from a long past epoch with that of contemporary, modern art.
Through the apparent weathering of her works as well as random corrosion pro- cesses, damaged metal, torn and yellowed paper and structures, which are reminiscent of crumbling plaster, and decay, Patrizia Casagranda portrays a transitory world; however, it is one that also encompasses a piece of eternity. This transience - which is evident in both the material and the depiction of youthful beauty - is, on the one hand, part of „Vanitas“ symbolism, which is repeatedly used in art, but, on the other hand, proves to be a reflection upon the fast-paced media landscape and its rapidly changing advertising strategies and ideals for beauty.
Through their almost tangible materiality, Patrizia Casagranta‘s works offer a remarkable level of fascination – which is quite rare in a world where we see an ever growing abundance of digital art. Layer for layer, they reveal their soul to the observer and what lies beneath. You can read these paintings; you can wander through them and even lose yourself in them.
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