4th Stage
4th : 1994
MATURITY
MATURITY
"Mysteries"
Carme Riera’s Mysteries / art in course of action
Rafael Argullol, Philosopher., Poet and Sculptor.
Along these years Carme Riera`s works have become more important and personal
making it difficult to compare her artistic development with others today. Not being satisfied with imposed limits she has broken the division between sculpture and painting mixing both.
I feel that what is important here is her decision to leave behind the idea of art as something definite becoming more interested in considering art a process. Her work isn’t so because it is finished but because it is being created . Like an alchemist the process comes from her use of tinplate, wood, wax, in a metamorphosis of these different worlds, the transfiguration of forms, the opening of its mystery, its spirit , which make us come to consider it both playful and serious
Carme Riera’s art has grown with these mysteries, her art is her alchemy, or better still:
her alchemy continues to be art.
Carme Riera’s love of tin
Josep Maria Cadena, Art Critic .
C. Riera began many years ago to find new ways of artistic expression. Because of her dexterity and willingness to understand the beauty of the materials to be used, she works with
Tin, a metal which has reminiscences of her earliest years, as her father made gothic crosses with it.
The sea in our interior
Carles Duarte,
Poet.
Carme Riera, art not as a strident or provocative gesture, but as a slow reconstruction of the matter of forms because, from the echo of what they were and the work they become, they are an expression of the most intimate and essential that exists in we. The wise, demanding and meticulous work of the textures and colors that make mineral bodies become water and light contributes decisively to this. The work of Carme Riera moves us because of her beauty, deeply poetic, that she breathes, but also because they beat in memory and in dreams, because life is rewritten tirelessly and incessantly.
Carme Riera’s sailings
Teresa Costa-Gramunt,
Poet and writer.
In the exhibition Vells vaixells, noves onades,(Old Ships New Waves) I have found recreated in a very surprising and imaginative way, in the subject she has chosen , with sculptors of feminine figure-heads, she has ironically named, according to some recent popular cultural event.
Presentaction for Carme Rier'sexhibit inauguration"Veus del Mar"
Carlota Caulfield, Art Historian.
Since The '80, the artistic representation of the sea is one of the key themes of Riera's work. With extraordinary skill, the Catalan painter is able to capture visually the voice of the sea in its immense complesity. Here, in this exhibit, Riera affirms her extraordinary experimental capacity and shows, once more, her multifaceted artistic personality.
We can talk about some relevant aspects of Riera's work: the firsr one is her relationship with her working materials (cloth, paper, tin, wood, pebbles, textiles...); the second one is her continuous experimentation with mixed techniques and collages formulating a variety of artistic languages. And last but not least, it is essential to talk about Riera's relationship with the color blue and its tonalities, the blue of meditation and spiritual expansion, the essence of many of her works.
The intensity of the blue gives rise in Riera's work to what Henri Matisse called the "vivacity" of color, or intense "retinal sensation". Color, as the French artist suggested, produces a physiological liveliness that potentially can jump across the senses and invoke tactility or cause palpitations. He campares such trembling to the "vibrato" of the violin.
