GUARDA 2017, Video, 18:28 minutes. Photo: Nestor Kim
Sole plate 2018. Photo Nestor Kim
Sole plate 2018. Photo Nestor Kim
Sole plate 2018. Photo Nestor Kim
CHASQUIDOS exhibition view, Pabellón Cuba, La Habana. Photo Nestor Kim
Mónadas , exhibition view Galleria Continua, San Gimignano. Ph Ela Bialkowska.
Testimonio de la Brisa 6 , 2018, iron oxide on linen, 218 x 400 cm. Ph Ela Bialkowska.
Testimonio de la Brisa 6 , 2018, iron oxide on linen, 218 x 400 cm. Ph Ela Bialkowska.
Altar , 2018, 108 engraved alabaster plates, 80 x 105 x 120 cm. Ph Ela Bialkowska.
Altar , 2018, 108 engraved alabaster plates, 80 x 105 x 120 cm. Ph Ela Bialkowska.
Altar , 2018, 108 engraved alabaster plates, 80 x 105 x 120 cm. Ph Ela Bialkowska.
Oración , 2018, graphite engraved, 59 plates: 10 x 17 x 4 mm each. Ph Ela Bialkowska.
CHASQUIDOS exhibition view, Pabellón Cuba, La Habana. Photo Nestor Kim
Oración , 2018, graphite engraved, 59 plates: 10 x 17 x 4 mm each. Ph Ela Bialkowska.
Mallas (Nets), 2017, aluminium net, 23 x 44 cm. Ph Ela Bialkowska.
Estanque , 2018, sound installation, water. Ph Ela Bialkowska.
CHASQUIDOS exhibition view, Pabellón Cuba, La Habana. Photo Nestor Kim
Estanque , 2018, sound installation, water. Ph Ela Bialkowska.
Duelo , 2013, video, 2'13''. Ph Ela Bialkowska.
Blanqueamiento , 2017, performance La Habana, Cuba
Palabra lesionada , 2017, performance / installazione in situ, cemento e barra di ferro, Bagni Misteriosi, Teatro Franco Parenti, Milan, 2017
Palabra lesionada , 2017, performance / installazione in situ, cemento e barra di ferro, Bagni Misteriosi, Teatro Franco Parenti, Milan, 2017
Palabra lesionada , 2017, performance / installazione in situ, cemento e barra di ferro, Bagni Misteriosi, Teatro Franco Parenti, Milan, 2017
Viento (Wind) , 2017, 150.000 coconut fiber wires, variable dimensions, Photo Michel Pou
Viento (Wind) , 2017, 150.000 coconut fiber wires, variable dimensions, Photo Michel Pou
Beso en tierra muerta , 2016, clay, 325 x 352 cm, Photo Paola Martinez Fiterre
Beso en tierra muerta , 2016, clay, 325 x 352 cm, Photo Paola Martinez Fiterre
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
Quebrar (To break) , 2017, 59 stones hand quartz, golden leaves 23 k, 10 x 6,5 x 0,8 cm. Total lenght: 519,5 cm, Photo Michel Pou
De la serie 'Testimonios de la brisa - Farallones' Breeze Testimony - Crags , 2015, iron oxide on lined, 300 x 200 cm, Photo Michel Pou
De la serie 'Testimonios de la brisa - Farallones' Breeze Testimony - Crags , 2015, iron oxide on lined, 300 x 200 cm, Photo Michel Pou
De la serie 'Temo la Blancura Posada' (I fear the posed whiteness) , 2015-2016, oil on canvas, 200 x 300 cm, Photo Michel Pou
Mallas (Nets) , 2017, 7 aluminium nets, Photo Michel Pou
Vuelo de un ala , 2016, latex on linen, triptych: 300 x 150 cm each
Vuelo de un ala , 2016, latex on linen, triptych: 300 x 150 cm each;;, ;, 2016-05c-ELIZABET-CERVIÑO-VUELO-CONTINUA.jpg, Vuelo de un ala, 2016, latex on linen, triptych: 300 x 150 cm each
De la serie Desgaste , 2016, chalk on sanded paper, 36 x 46 cm
De la serie Desgaste , 2016, chalk on sanded paper, 38,5 x 135 cm
De la serie Desgaste , 2016, chalk on sanded paper, 70 x 50 cm
De la serie Tala Álamo , 2016, poplar, latex and plywood leaves, 45 x 33 x 7 cm
De la serie Tala Álamo , 2016, poplar, latex and plywood leaves, 45 x 33 x 7 cm
LA EXTENSIÓN DE LA LLUVIA , 2015, transparent monofilament fishing line, Photo Paola Martinez Fiterre
LA EXTENSIÓN DE LA LLUVIA , 2015, transparent monofilament fishing line, Photo Paola Martinez Fiterre
LA EXTENSIÓN DE LA LLUVIA , 2015, transparent monofilament fishing line, Photo Paola Martinez Fiterre
LA EXTENSIÓN DE LA LLUVIA , 2015, transparent monofilament fishing line, Photo Paola Martinez Fiterre
De la serie Temo la blancura posada , 2015, oil on canvas, 200 x 260 cm
De la serie Temo la blancura posada , 2015, oil on canvas, 200 x 280 cm
De la serie Testimonio de la brisa , 2015, oxide on linen, 200 x 320 cm
LIMPIAR EL HUMO/CLEANING THE SMOKE , 2015, 7 420 cm wide olganza curtains collect the gray oil previously applied on a 410 x 200 cm canvas
LIMPIAR EL HUMO/CLEANING THE SMOKE , 2015, 7 420 cm wide olganza curtains collect the gray oil previously applied on a 410 x 200 cm canvas
Elizabet Cerviño: rituals of nature
Elizabet Cerviño’s work is multimedia as it spans across painting, installation, video and performance. It starts from the inspiration found in the transient and the fragile. It brings up questions surrounding that lost point of union between the body and the environment, nature and culture, spirituality and materialism. It’s through her work that Cerviño tries to understand what of the ephemeral can be perpetuated and present in tradition and ritual. Her spirituality manifests itself in ritual and craftmanship, creating a trinity that allows her work to be more harmonious, independent and connected to a larger whole.
Elizabet Cerviño often works with natural elements, water, mud, rain and fog. These are seen as material manifestations and forms of the natural world. They embody the inevitable changing nature of everything. This reflects human thought and action, often unstable like the elusive forms of these natural elements. Cerviño’s performance is often a continuation of her pictorial meditations. The lines are blurred between what parts of performance and what parts of paintings adhere to the very definition of each respective media. It’s within this ambiguity that her works breathe, representing the act of creating. Her main reference is nature and the poets that channel the force of nature who in turn create a sense of identification and complicity within the artist.