Natalia Cacchiarelli
Foreign to any attempt of representation, the work of Natalia Cacchiarelli goes from a serial treament to a reduction of the formal elements. In his calm purity, her paintings and objects enunciate the beauty of the simple thing.
(...) With enormous patience, and in the repetition and synthesis of the work with the line, Cacchiarelli would seem to investigate the nature itself of painting. This perhaps is a way of expressing the search of the essential thing or, perhaps, of evoking the sublime (...).
by Victoria Verlichak, in Geometrías Mínimas, catalogue of the show Inquieta, Del Infinito Arte 2007.
Natalia Cachiarelli (Bahía Blanca, Pcia. de Buenos Aires, 1971) graduated at the Escuela Superior de Bellas Artes Prilidiano Pueyrredón. She atended painting workshops with Adolfo Nigro and Juan Doffo and studied analisys of work woth Gachi Hasper, Tulio de Sagastizábal and Pablo Siquier. Among her most important solo shows we can mention Inquieta, at Del Infintio Arte (2007); Maqueta mental, at Pasourbano, Bahía Blanca (2005); Sólo rayas, at the exhibitions room in La Caja de Extremadura, Cáceres, Spain (2004); Hebras, at Del Infinito Arte anda t the Museo de Arte Contemporáneo de Bahía Blanca (2003); 22 + 6 + 8 at the Centro Cultural Recoleta (2002); one at the Museo de Arte Contemporáneo de Bahía Blanca (1998) anda t the Alianza Francesa in Bahía Blanca (1994).She participated in numerous collective exhibitions and art fairs, both in Argentina and abroad with the gallery (Arte BA and Arco) and was granted awards in several occasions.
Lógica variable
Del Infinito Arte tiene el placer de invitarlos a la inauguración de la muestra Lógica variable, de las artistas Natalia Cacchiarelli, Inés Raiteri y Cristina Rochaix.
Cada una de estas pintoras aporta su toque personal a la abstracción geométrica, el punto de unión que las convoca.
Inauguración: 13 de octubre a las 19 hrs.
see the exhibitionInquieta
Inaguración
abril 2007
¿Qué pinta Natalia Cachiarelli? ¿Horizontes o límites, orillas o fronteras, contornos o divisorias?
Imposible saberlo. ¿Qué hay detrás de los obsesivos y, en ocaciones, apenas perceptibles gestos que se multiplican en los distintos soportes con los que la artista elige trabajar?
