Galeria Nara Roesler | São Paulo presents Cabeças/Falantes [Heads/Tellers], solo exhibition by Cristina Canale, structured around an axis constituted by a series of paintings of female heads in classic portrait format. Around this narrative, other artworks unfold with representations of fragments of human figures, parts of the body and everyday gestures. Removed from their wholes and isolated, these parts acquire another dimension.

In recent years, Canale, who arose with the so- called Geração 80 [80s Generation] – has become interested in the female universe, which has been gradually taking over her production. Generally based on everyday scenes, her works result from an elaborate work of composition with masses of color, shifting between figuration and abstraction, opening possibilities for the spectator’s subjective imagination.

In counterpoint to the group of artworks formed by portraits and references to the human body, the artist presents a large (2 x 3 m) canvas of a chair sitting alone amidst the landscape. According to the painter, it is an everyday object that refers to femininity and recalls the seated women by Giacometti. “I have the impression that all of these works revolve around the dichotomy between presence and absence,” Canale observes.

Critical Essays

  • cabeças/falantes

    clarissa diniz
    Edges of the body have been present for a long time in Cristina Canale’s work. If Talkative (2018), one of her recent paintings, pushes into the foreground a sort of speech-razor able to cut the face – that monolith which, in a portrait, tends to marginalize everything else – this figure-background relationship is an echo of other angularities of her career, already expressed, for example, in her paintings from 1985. Just as in Talkative the portrait is a sort of trigger for the dispute between the hierarchies of the composition, at that moment a kiss was the theme for an inevitable tear in the space where the painting was operating. Constituted by cut-out and glued parts, the painting from 33 years ago did not have its bodies split by the background, but tore the space with its pictorial body, elbowing it in a hug. Cristina Canale, Untitled, 1985 As an embryo, it already evinced the artist’s interest for what she circumscribes as “tension in the coexistence between contradictions,”...