Natasha Zupan
CV:
INDIVIDUAL SHOWS
2008 Galerie d'Orsay
2007 Coweta School, The Françoise Gilot Gallery
of the centre for Performing and Visual Arts
Gallery Utstallningssalongen,
2006 Zang Toi Fashion show,
Galerie d'Orsay,with Bruno Zupan
2005 Galerie d'Orsay, with Bruno Zupan
2003 Macia Batle, Sta. Maria
2002 Gallery Utställningssalongen
ArtDiana, Helsinki
2001 Galeria Joan Oliver "Maneu"
2000 "Reclamos", Galeria dels Àngels ,
New York Folin/Riva Gallery,
1999 Galeria Joan Oliver "Maneu",
Gallery Utställningssalongen,
1997 Galeria Joan Oliver "Maneu"
1996 Heland Wetterling Gallery
Art Cabinet
1995 Incontri in Arte
Galeria Antonella Moncada
Galeria Rolf Ruckert,
"12 Anys damunt paper",
Galeria Joan Oliver "Maneu",
1994 Maneu Punt d'Art,
1993 L'opera Galleria d'Arte,
1992 Gallery Joan Oliver "Maneu"
1990 Gallery V. Tribecca,
1987 A & A Gallery, Yale University,
GROUP SHOWS
2009 Real Cartuja
Barbies 50‘s Pavillon Italiano
2007 Salone Mobile
Galerie d'Orsay
2006 Zupan & Zupan, Galerie d'Orsay,
Manue Galeria d'art,. Sueños entre tejidos
Miami/ Basel art fair
2005 La Misericordia,.
Artistas contemporanis per a George Sand
Zupan & Zupan, Galerie d'Orsay,
2004 La Cartuja, Valldemossa.
Artistas Contemporanis per George Sand
Casal Solleric,
Tallers d'Obra Gràfica Fundació Miro
Contemporary Art Fair N.Y.C,
Georgia Schley Ritchie stand
1999 Galeria Joan Oliver "Maneu". Art Expo '99,
Lithographs for "Médicos del Mundo",
Fundación Miró,
"Colectiva de Artistas Mallorquines",
Travelling exhibition in Italy,
sponsored by the Balearic Government
1998 Galeria Joan Oliver "Maneu". Art Expo '98,
1997 Galeria Joan Oliver "Maneu". Art Expo '97.
The Columbus Museum Georgia, USA
"Nueva Generación de artistas en Baleares",
Travelling exhibition in the Balearic Islands
1996 Galeria Joan Oliver "Maneu". Art Expo '96,
The Columbus Museum
1995 The Columbus Museum
1989 Leslie Pendleton Gallery,
The Cork Gallery, Lincoln Center,
1988 National Academy of Design,
Statement:
Method, Material and Meaning
My work is about a universe where time and emotions intersect. I grew up in Europe and in the US, so have a dual perspective with regards to tradition in painting and aesthetics. My work is about duality and is informed by a cross-cultural exposure.
The method, which predominates my work, is collage. It is not only the use of different materials, but also of different representational techniques. By decontextualizing the language of representation, i.e. drawing, painting, color theory, and perspective etc., I reformulate to create a new space. My work is about this process of blurring boundaries and the dialectic between experimentation and tradition.
I combine images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies and transformation. Collage allows emotions to converge with the material. I play with the juxtaposition of the past and present in an atmosphere of no time. I seek barroc minimalism?
The materials I use consist of embroidered silks dating back from the 18th century coded with time and meaning. I use gold leaf, pigments; rabbit skin glue, acrylic, oil, charcoal, photographs, encyclopedias, magazines and current images from the Internet…
The work is informed by romance, desire, disillusion, torment, ecstasy, dream and myth. My best works are erotic displays of mental confusion particularly concerning relationships. I usually work in series to emphasize repetition, and obsession.
Quotes from the art critics:
“The contrasts and overlapping of images allow vibrant compositions of color and movement: The maps of different types of love and the paths of desire intersect, oscillating between background and foreground. Sometimes they vanish, or reappear in the delicate markings of charcoal, or in the pattern of the underlying fabric. Every piece is a map of the mystery, which shrouds desire, in which we follow a path from our childhood fantasy into a secret world of adults.” (Felipe Hernandez, Spain)
“Reminiscent of Sigmar Polke’s alchemy paintings, Zupan’s work is about the process, that permits chance and intention to meet. Whereas Polke’s painting set in motion processes that are related to paint and nature, Zupan’s paintings are about material and the human figure. They celebrate not only the luxurious nature of the material, but possible histories of those who wore them.” (Jeanne Greenberg Rohatyn NYC)
“And transparency, the transition between the temporal load of the silk −that’s the support: the moment when the dream combines with the tactile memory, when past faces present, and the artistic tradition challenges the contradictions and the ruptures of contemporary art... Natasha Zupan’s paintings are not just concepts that can be left behind to catch another more shocking idea. Her work holds poetry and ecstasy, deepness and translucency, sensibility and skill, and her contemporaneity goes beyond the trends and the clichés of the present: It is spiritual, subtle, and able to vary the light of our eyes like the skin of a chameleon…”.
(Felipe Hernandez, Spain)
“A piece that stands out, ‘the kissing plant’ which translates a visit to pre renaissance, is now contextualized from a perspective transiting through art history to our times. She includes elements relative to a moment in history, such as the case with the images from Hieronymus Bosch.
These, as well as confer a symbolist spirit to her work, also direct the viewers gaze, which must not only consist of an aesthetic realm, contemplative and hedonistic, but also must be imbued with the role of the reader, re interpreting the different layers with which the final image is created ”
(Carlos Jover, Spain)