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Caterina Tedeschini - Premio Combat Prize

OPERA IN CONCORSO | Sezione Grafica


mezzotinto su matrice di rame crudo, carta calcografica hahnemuhle 300g/mq

Caterina Tedeschini

nato/a a Milano
residenza di lavoro/studio: Washington DC, UNITEDSTATES

iscritto/a dal 31 gen 2019

visualizzazioni: 517


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Descrizione Opera / Biografia

1960 Born in Milan (Italy), she lives and works in Rome since 1966
1979 -1983 Studied at “La Sapienza” University of Rome - Department: Biology
1984 – 2014 Consultant, Project management, Marketing Manager and Director by International software companies like Computer Associates, Hewlett Packard.
2009 – 2013 Studied at “R.U.F.A.” Night school lessons of Calcography, Drawing and Painting techniques.
2013 “Ciano Segni” by “Atelier Insigna” with G. Bentivenga & Laura Peres - Rome Italy
2014 “Scarabocchi Macabri” with Stefano Bessoni by “Atelier Insigna” - Rome – Italy
2014 Advanced Etching Technique uses with G. Bentivenga by “Atelier Insigna” - Rome – Italy
2017 Master Class with Alfredo Bartolomeoli by “Laborintus” in Corviale – Rome - Italy
Solo Exhibitions
2017 “Alla Deriva” by “Circolo Culturale Montesacro – Rome - Italy
Group Exhibitions
2010 - Annual Exhibition of the school students by “R.U.F.A.” - Rome - Italy
2012 - “CaneRossoCaneNero” - By “Libreria Odradek” - Rome - Italy
2014 & 2015 “AMACI: Giornata per il Contemporaneo” - by “Atelier Insigna” - Rome - Italy
2015 “Ferme ta boite” - Biennale de l’estampe de trois rivieres – Quebec - Canada
2017 “ZONA FR.AN.CA.” By ”Circolo Culturale Montesacro – Rome - Italy
2017 “Tiber op der Tauber” - Rothenbourg – Germany
2018 “Learning form Laborintus” by Stamperia del Tevere – Rome – Italy
2018 “Fuori Corso” by “Galleria Banca Generali – Rome - Italy
2018 “Learning from Laborintus” by Washington Printmakers, Washington D.C. - U.S.A.
2012 “CaneRossoCaneNero” based on a Toti Scialoja lyric
2016 “Alla Deriva” based on a Stefano Prosperi lyric
2017 “3 POESIE” based on N. Hikmet, E. Dickinson, G. Ungaretti lyrics
2017 “Metamorfosi”
Caterina Tedeschini’s work is a scientist’s one. Biologist and computer specialist, her approach resembles to that of a researcher, who seeks knowledge and truth for their own sake, and treasures them more than beauty, pleasure or even recognition. Throughout Tedeschini’s work - and more evidently in her recent corpus of engravings - natural forms are a recurrent object of study and observation. An exoskeleton of a seashell, a shrivelled dead leaf, a tawny owl on its nest, the cracked surface of a nut or that of an asteroid’s rock: any organic manifestation of the life cycle is translated into a fascinating intricacy of drawing marks, encoded onto the copper matrix of the print.
In Tedeschini’s practice, the action of drawing stands high. The gesture of the hand draws from the mind what has been observed, connecting both metaphorically and factually the Intellect to the Body to the World. While the use of engraving and printmaking reflects Tedeschini’s urge to re-discover and preserve one of the most revolutionary craftsmanships in the history of human kind, the physic-chemical procedure embodies her philosophical interest for the condition of the image. The condition of Man as an image maker, intertwined in the physical and metaphysical nature of the Universe, is at the core of her critical thinking and at the origin of all her art.
Like a mythological Ulysses, the quest for freedom of thinking and knowledge has lead Caterina Tedeschini to travel the world. But her drawings of natural forms do not only stand as a mark of the beauty she has encountered, they can also be interpreted as visual archetypes of the Human condition, connecting Nature and Culture. Observing, absorbing, understanding, translating, transferring, sharing... Tedeschini’s human centred and activist conception of freedom and responsibility is sometimes visible in her work, suggesting a sense of rebellion to the capitalistic pricing structures and standardized social behaviours. Caterina is contributing to the transmission of her knowledge, which she received from a group of young and passionate printmakers of Rome, and which she keeps sharing with other curious artists through workshops and master classes.
I’ve been fascinated by nature, by its infinite variety of forms and colours, by its impermanence.
I always enjoyed drawing, since I was a child.
Lots of things changed up to now, but the feelings I have are still the same, the original ones.
Drawing is “the” way to understand the world outside, it is my path to enter the world and become part of it.
The distances among me, my body, the things I observe, the universe, disappear.
Time collapses. Then, only now and here really matter.
It is almost a primitive action of looking at, without any judgement.
Then I have to deal with memories, with the history, and, in the same time, I have o deal with imagination and future.
Today it is important for me to re-establish an authentic dialogue, with no mediations, raw now and then, where me and the world outside can have mirrored back each other.
Art work as a re-cognition practice.
Why do I prefer etching “language”? Etching techinque requires several steps to achieve the final result. I have to manipulate different materials like metal, acids, time, paper, ink before I meet my ideas. I need time. Etching is a way to gain time, to take advantage of life.