Premio Combat Prize

Cynthia Grow - Premio Combat Prize

OPERA IN CONCORSO | Sezione Grafica

 | Love Letters - Gustave Flaubert to Louise Colet, Croisset, midnight 8-9 Aug 1846

Love Letters - Gustave Flaubert to Louise Colet, Croisset, midnight 8-9 Aug 1846
acrylic and conte on book, paper
23 x 31 cm

Cynthia Grow

nato/a a USA
residenza di lavoro/studio: Barcelona & New York, UNITEDSTATES


iscritto/a dal 19 feb 2018

http://cynthiagrow.com


visualizzazioni: 401

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 | Love Letters - Franz Kafka to Felice Bauer, 20 Dec 1912

Love Letters - Franz Kafka to Felice Bauer, 20 Dec 1912
acrylic and conte on book, paper
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 | Love Letters - Ninon de L’Enclos to marquis de Sévigné, c. 1690’s

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acrylic and conte on book, paper
23 x 31 cm

 | Love Letters - Napoleon Bonaparte to Josephine Bonaparte, Nice, 1796

Love Letters - Napoleon Bonaparte to Josephine Bonaparte, Nice, 1796
acrylic and conte on book, paper
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Descrizione Opera / Biografia


Cynthia Grow - cynthiagrow.com
| ARTIST STATEMENT |
Collection of love letters written by historical figures and famous lovers throughout the ages. The phrases of the hand-written pieces correspond to loving, passionate, sometimes humorous excerpts from each letter, the text partially obscured by paint ground.

In these pieces, I appropriate a pre-existing text, here letters, and obscure the original document which serves to act as a mirror for the ideas, needs, and desires of the viewer. The idea of covering is twofold: First, simply, that these are private letters. Intimate thoughts and words, often delivered in secret, hidden, intended only for two people, and their eyes alone. Secondly, the hidden words act as a metaphor for the subconscious – an awareness and the thoughts that exist just under the surface, almost out of reach, barely perceptible. The unspoken that I believe exists in us all. As the words are concealed and the paint eventually dries, small, seemingly trivial details – random words and phrases emerge, as if bubbling up from the subconscious, while the larger picture and context are erased.

Certainly, this work is about human emotion — the spectrum from love to hate, or indifference rather, and all the messiness in-between. While these pieces may seem simple in execution, the concept runs deeper. I take much time pondering, searching for just the correct phrase to write on the finished piece. It must resonate with me. If not initially, then after I obliterate the text. The words often find me. The paint forms a ground from which I tease out words. I purposely scribble, giving the work a dashed-off quality, another metaphor for emotion. For me, anything ”too perfect,” too calligraphic would just be robotic and negate the feeling. Beauty in imperfection. The pieces become a palimpsest of sorts, subverting and transforming language, creating a new form.

Presence of Absence. Mystery. Silence. In both art and in life, I find what is hidden or obscured more compelling than the overt. I believe that hiding part of the world is inherent to the act of showing the world. For this reason, I prefer to leave ambiguity in my work, regardless the medium. Similar to the poet’s sense of reduced language to communicate, creating mood and meaning where there may be no obvious story. Posing a question minus the answer, I offer the viewer to become an important determiner of meaning; allowing space to experience his own feeling, to arrive at his own conclusion.


| ARTIST BIO |
Cynthia Grow is a visual artist whose work explores the interstices between art and language. She received a degree in Painting from Accademia d’Arte in Florence, Italy and has completed projects at residencies throughout Italy and Spain, as well as seminars at New York Studio School, National Academy School of Fine Art, and Pennsylvania Academy of the Fine Arts. In addition to studio training, she completed a program in Modern Art, Connoisseurship & Art Markets at Christie’s Education New York and holds a Master’s degree with a concentration in Modern Arts & Literature from University of South Florida. Cynthia’s work is held in private and corporate collections and has been exhibited in cities such as New York and Miami, as well as galleries and cultural centers in Europe including Florence, Rome, Madrid, and Barcelona. She has lived and worked in New York and abroad in both Italy and Spain. She divides her time between various places working on long-term projects and extended periods of time in Barcelona.