3rd Stage
3rd : 1988 - 1994 REAFFIRMATION
3rd : 1988 - 1994
REAFFIRMATION
"L'ou i el còdol"
Carme Riera and the eggs
Xavier Rubert de Ventós, Philosopher
Instead of reducing everything to a substance or primordial form, she takes hold
of a very common one, an egg –as something cute,- from where to make out, or praise everything. This is perhaps what is more defining and original in the work of Carme Riera, as when, plastic art and poetry mingle in it as does intimacy and vernacular, irony and nostalgia. That is why this artist had to invent a polyhydric and transverse gender. Carme Riera’s gender. voici.
From Birds to Eggs
Joan Martí i Castell, Director of the University Rovira i Virgili,
Carme Riera , therefore, tries to find once more, through the strength of the elements she uses a revival of wonderful lives in extraordinary gestures: it is the indefinite but finished flight of birds . That of a marvellous birth, delicious and beautiful .
Carme Riera’s Egg and Pebble
Joan Martí i Castell, Professor U.R.V. President of the philological department of the I.E.C.
Carme Riera’s. outstanding abilities has made it possible for her to find the way of joining elements that, otherwise, we would never imagine could be mixed
She has thus introduced, in the artistic world elements such as, egg and pebble , as an antithesis that connect the concepts fragile and heavy which, without her imagination, would never exist, in spite of it being possible
In doing so Carne Riera makes an effort both violent and delicate, providing an original beautiful outlook never thought of before where, without breaking up anything, it opens a strictly new beautiful creative way of thinking in art history
Carme Riera’s Pebbles
Cesáreo Rodriguez de Aguilera, President of Honour AECA*.
Carme Riera’s secret, in the diversity of her works, comes from her outlook and most intimate contact with her world. as shown in her many monographic exhibitions, This diversity comes from her contact with the world that surrounds her such as: “El mar”, (The Sea) “Homenatge a la primavera” (Homage to Spring), “Els mites de la terra” (The Myths of the Earth); and to her cultural world “:Homenatge al cinema” (Homage to Cinema), “Homenatge a la música i a la poesia” (Homage to music and poetry) “Els objectes de Marcel Proust” (Marcel Proust’s objects). All this within the most varied techniques; oils, drawings, collage, found objects. sculptures... also closely related, as shown in her work.
...But above all we would like to mention her creative gift coming from her open attitude towards everything that surrounds her
Book, Woman and Immediate Imaginative Art
Arnau Puig, Philosopher and art critic.
Carme Riera is a fertile worker in her use of collage. Thus anything that is at her arms reach, thanks to her sensibility, can be transformed into a work of art . Collage is that divine possibility that appears to the creator where an egg, a shaving blade, that are so heterogeneous , can mix like in a real nightmare.
Thanks undoubtedly to Carme’s penetrating gaze. this is what’s happened now. The result is in the mixture of the elements in these collages: cloth, tinplate, aluminium. paper, photos, parchment, imprints, wood shown her excellent creative works in all dimensions. To create is to transmute.
Carme Riera: Art and Reading as an Example
Alex Mitrani,Historian and Art Critic.
One of the most important contributions is her use of tinplate and acids towards inserting chromatic effects, She follows the so called poor art by referring to all that has to do with nature and, as regards culture, she knows how to remit to chance and accident following Kandinsky and above all Miró.
She also multiplies sensual and lyric resources, in the tracing of time, the landmarks of nature, the beauty between what is rough and what is delicate. Riera knows how to include all this in a subtle way
Carme Riera in what is essential
Guillem Viladot, visual poet and writer
With wonderful insight , Carme Riera introduces egg and pebble as a magician announcing far gone shapes appearing now, or others still hidden
In examining these works we should be able to place ourselves in the centre of what is vital , in spite of their changing symbolism.
This artist has gazed within herself, kept alert by that drowned cry that hasn’t left us from the beginning and tries to make itself visible
