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TATIANA STROPP


On the smooth and the perennial* Benedito Costa Neto It is impossible not to notice the brightness of the paintings by Tatiana Stropp. Nevertheless, such brilliance is not only due to the color of the aluminum, but to the result of the artist’s research in relation to color and to the kind of material she covers the color with. It is largely thought that the paintings are transparent, allowing us to discern the surface, when in fact the various layers of paint cover the aluminum, in an interesting play of meanings and results: covered aluminum, rediscovered aluminum, hidden material, revived material. The same aluminum serves as a metaphor for Tatiana Stropp’s investigation. Just like the lightness of the aluminum does not reveal its complexity, a brief glance at the artist’s works would not take its complexity into account as well: execution time, color research, textures, shapes, of a neither peaceful nor exasperated search for a result which is built day by day, week by week, month to month.

The work of the artist, the artist's final work, is an antiarchaeology. The archaeologist finely seeks traces of the past, remains which will be analyzed and whose collection will form a body, a body with a certain idea of the truth or the possibility of it. Stropp also makes a delicate search of a body – since it is careful – but she does the opposite of the archaeologist: she adds traces. The issue of the involuntary landscape seems to be more apparent when the stripes which were formerly vertical turn into the horizontal position. Her work is related to the fine arts just as the pseudo-naïve poetry is related to literature. In Literature, several poets (in different eras and schools) look for the simple in the extremely complex. Tatiana Stropp’s poetics does not differ from that. May, 2012.

Subtlety is not an invention of the artist, nor was it her reasoning. Anyway, she does not wish/aspire to subtlety per se or as the ultimate goal of the work, since it would mask a consistent research or it would be like a search for the truth. Subtlety cannot, however, be confused with simplicity. Then, subtlety here is a veil that covers a slow and difficult process of long waits and continuous discoveries. .

Benedito Costa Neto (Quatiguá, Paraná, 1966) is a professor of Portuguese and Literature and a business consultant in the field of oral and written language. Contributor to the RPC-TV news programs, he is also a collector of contemporary art and a critic. Diante do Abismo is his first fictional work. *concise version - The full version of the text can be found at www.tatianastropp.com/criticism.


Sobre o suave e o perene* Benedito Costa Neto Não há como não reparar no brilho das pinturas de Tatiana Stropp. Porém, tal brilho não se deve apenas à cor do alumínio e sim ao resultado da pesquisa da artista em relação à cor e ao tipo de material com que cobre a cor. Muito se pensa que as pinturas são transparentes, permitindo divisar a superfície, quando na verdade as diversas camadas de tinta cobrem o alumínio, num jogo interessante de sentidos e resultados: alumínio coberto, alumínio redescoberto, material escondido, material revivido. Este mesmo alumínio serve de metáfora para a investigação de Tatiana Stropp. Assim como a leveza do alumínio não revela sua complexidade, um rápido passeio pelos trabalhos da artista não levaria também em consideração sua complexidade: tempo de execução, pesquisa de cor, texturas, formas, de uma busca nem tranquila nem exasperada, por um resultado que se constrói dia a dia, semana a semana, mês a mês.

O trabalho da artista, o trabalho final da artista, é uma antiarqueologia. O arqueólogo busca, delicadamente, vestígios do passado, vestígios que serão analisados e cujo conjunto formará um corpo, um corpo com certa ideia da verdade ou da possibilidade dela. Stropp faz uma busca também delicada – pois cuidadosa – de um corpo, mas faz o contrário do arqueólogo: acrescenta vestígios. A questão da paisagem involuntária parece ficar mais patente quando as listras que antes eram verticais ganham horizontalidade. O trabalho dela está para as artes plásticas assim como a poesia pseudo-naïf está para a literatura. Na Literatura, diversos poetas (em variadas épocas e escolas) buscam o simples no extremamente complexo. A poética de Tatiana Stropp não difere disso. Maio, 2012.

A sutileza não é invenção da artista, tampouco sua fundamentação. De todo modo, ela não deseja/almeja a sutileza por si só ou como objetivo último do trabalho, uma vez que isso mascararia uma pesquisa consistente ou seria como uma busca da verdade. Sutileza não pode, todavia, ser confundida com simplicidade. Então, a sutileza aqui é um véu que encobre um processo lento e dificultoso, de longas esperas e de descobertas contínuas.

Benedito Costa Neto (Quatiguá, Paraná, 1966) é professor de língua portuguesa e literatura e consultor empresarial na área de linguagem oral e escrita. Colaborador dos jornais da RPC-TV, é crítico e colecionador de arte contemporânea. Diante do Abismo é seu primeiro trabalho de ficção. *versão resumida O texto completo pode ser lido em www.tatianastropp.com/critica


Sobre el suave y el perene* Benedito Costa Neto No hay como no darse cuenta del brillo en las pinturas de Tatiana Stropp. Sin embargo, dicho brillo no se debe solo al color del aluminio, sino al resultado de la investigación de la artista en lo que se refiere al color y al tipo de material con que ella cubre este color. Mucho se pensaba que las pinturas son transparentes, permitiendo divisar la superficie, cuando en verdad las diferentes camadas de tinta cubren el aluminio, en un juego interesante de sentidos y resultados: aluminio cubierto, aluminio redescubierto, material escondido, material revivido.

El trabajo de la artista; su obra final, es una antiarqueología. El arqueólogo busca delicadamente vestigios del pasado, vestigios que serán analizados y cuyo conjunto formará un cuerpo; cuerpo con cierta idea de la verdad o con su posibilidad. Stropp hace una búsqueda también delicada -por consiguiente meticulosa- de un cuerpo, pero hace el contrario del arqueólogo: le añade vestigios. La cuestión del paisaje involuntario parece ser más aparente cuando las rayas que antes eran verticales ganan horizontalidad.

Este mismo aluminio sirve de metáfora para la investigación de Tatiana Stropp. Dado que la levedad del aluminio no revela su complexidad, con echar un vistazo por los trabajos de la artista no sería lo suficiente para entender su complexidad: tiempo de ejecución, investigación de color, texturas y formas de una búsqueda ni tranquila tampoco exasperada por un resultado que se construye a diario, semana a semana, mes a mes.

El trabajo de Tatiana es para las artes plásticas lo que la poesía pseudo-ingenua es para la literatura. En la literatura distintos poetas, en varias épocas y escuelas, buscan lo simple en lo extremadamente complejo. La poética de Tatiana Stropp no es diferente de ello.

La sutileza no es invención de la artista, tampoco su fundamentación. De todos modos, ella no desea la sutileza de por sí como objetivo último de la obra, ya que eso enmascararía una investigación consistente o sería como una búsqueda de la verdad. Sin embargo, no se puede confundir sutileza con sencillez. La sutileza es un velo que encubre un proceso lento y dificultoso de largas esperas y de descubiertas continuas.

Benedito Costa Neto (Quatiguá, Paraná, 1966) es profesor de lengua portuguesa y literatura y consultor empresarial en el área de lenguaje oral y escrito. Colaborador de los periódicos de RPC-TV, es crítico y coleccionador de arte contemporáneo. Diante do Abismo es su primer trabajo de ficción.

Mayo, 2012.

*El texto completo puede ser leído en www.tatianastropp.com/critica .


29.05 Oil on aluminum 35 x 62cm Private collection 2012


06.06 Oil on aluminum 43 x 125cm 2012


21.05 Side view


21.05 Oil on aluminum 43 x 200cm 2012


23.03 Oil on aluminum 60 x 64 cm Private collection 2011-12


09.05 Oil on aluminum 135 x 120cm 2012


10.07 2012 Oil on aluminum 57 x 125cm


10.07 side view


22.11 Oil on aluminum 170 x 150cm 2011


03.07 Oil on aluminum 135 x 120cm Private collection 2012


03.05 Oil on aluminum 62 x 125cm 2010-11


17.07 Oil on aluminum 100 x 74cm Private collection 2012


26.10 Oil on aluminum 60 x 125cm Private collection 2009


08.12 Oil on aluminum 135 x 120cm Private collection 2011


17.10 Oil on aluminum 150 x 130cm Private collection 2010-11


29.11 Oil on aluminum 85 x 120cm Private collection 2011


23.06 Oil on aluminum 67 x 134cm Private collection 2008-9


06.04 Oil on aluminum 135 x 125cm Private collection 2007-8


09.08 Oil on aluminum 150 x 130cm 2011


05.10 Oil on aluminum 60x50cm R么mulo Maiorana Foundation Collection - 2007


13.10 Oil on aluminum 62 x 67cm Private collection 2008-9


07.03 Oil on aluminum 61 x 54cm Private collection 2007-8


17.03 Oil on aluminum 67 x 60cm Private collection 2007-8


23.09 Oil on aluminum 135 x 250cm Private collection 2007


Side view detail


12.07 Oil on aluminum 115 x 100cm Private collection 2006-7


07.05 Oil on aluminum 125 x 135cm Museum Oscar Niemeyer Collection - 2008-9


23.02 Oil on aluminum 51 x 54cm Private collection 2007-8


Convites e Imprensa Invitations and Press material


Invitation ARCOmadrid 2013, stand ‘Ybakatu Espaço de Arte’ gallery.


Invitation exhibition "ALUME" Vertente Gallery, Campinas, Brazil.


Catalog Highlighted Artists, ARCOmadrid represented by

‘Ybakatu Espaço de Arte’ gallery, 31st edition, Madrid, Spain, February 2012.


Artilce by Rafaela Tasca Casa Claudia Paranรก Magazine, October, 2011.


exhibition catalog "State of the Art: 40 Years of Contemporary Art Paraná in 1970/2010 “

Curated by Artur Freitas and Maria José Justino, Museum Oscar Niemeyer. Curitiba, September 2010 to April 2011. (page. 25)


Invitation "State of the Art: 40 Years of Contemporary Art in Paraná 1970/2010", curated by Arthur Freitas and Maria José Justino, Museum Oscar Niemeyer. Curitiba, September 2010 to April 2011.


Catalog ARCOmadrid represented by ‘Ybakatu Espaço de Arte’ gallery, 30th edition. Madrid, Spain, February 2011.


Invitation "tambĂŠm" Memorial de Curitiba, Curitiba Cultural Foundation. Curitiba, December 2009 to February 2010.


Invitation Project Production of the Cultural Foundation of Curitiba, 2nd Edition - April 2008. "Commentary on Painting�


Invitation "I" ‘Ybakatu Espaço de Arte’ gallery Curitiba, September to November 2007.


Invitation "Projectiles contemporary art", gallery FUNARTE, Rio de Janeiro, September 2005.


.

Exposições Exhibitions


Solo Exhibition ALUME, Vertente Gallery, Campinas, 2012.


State of the Art: 40 years of Contemporary Art in Paraná - 1970-2010, trustee of Artur Freitas and Maria José Justino Oscar Niemeyer Museum, Curitiba, 2010-11.


Comments on Painting, Exhibition Visual Arts Production Scholarship 2nd edition Curitiba Cultural Foundation, Curitiba, 2008.


Tatiana Stropp Exhibition at ‘ Ybakatu Espaço de Arte’ gallery, Curitiba, 2007.


Tatiana Stropp Exhibition at ‘ Ybakatu Espaço de Arte’ gallery , Curitiba – Brazil, 2007.


Colors over metallic surfaces: unusual textures and reflections Aluminum plates provide the base for the work of Tatiana Stropp.

She uses a seemingly simple procedure: color stripes from a single stroke of the brush.

Tatiana Stropp has developed this simple procedure into a painting technique that highlights color shades, opacities, and transparencies resulting in unusual textures and reflections.

Her work reveals a new universe of textures and reflections.


AteliĂŞ e placas de alumĂ­nio Atelier and aluminum plates


Partial studio view, June, 2011


Partial studio view, June, 2011


Partial studio view, January, 2013


Partial studio view, January, 2013


The aluminum plates are processed in a workshop in Curitiba, Brazil.


Aluminum plates are sanded to receive the paint.


Tatiana Stropp, was born in Campinas. She lives and works in Curitiba, Brazil. Her work has been exhibited in Curitiba, São Paulo, Rio de Janeiro, Belém, and Madrid. Exhibitions ARCOmadrid, stand ‘Ybakatu Espaço de Arte’ gallery 32th edition. Madrid, Spain. (02.2013) "Collection MON - Acquisitions 2011/2012", Museum Oscar Niemeyer. Curitiba, Brazil ( 10.2012- 04.2013) ARCOmadrid, Highlighted artist, stand Ybakatu Espaço de Arte’ gallery, 31th edition. Madrid, Spain. (02.2012) SP Arte – São Paulo International Art Fair, stand ‘Ybakatu Espaço de Arte’ gallery, 8th edition. São Paulo, Brazil. (05.2012) SP Arte – São Paulo International Art Fair, stand ‘Ybakatu Espaço de Arte’ gallery 7th edition. São Paulo, Brazil. (06.2011) ARCOmadrid, stand ‘Ybakatu Espaço de Arte’ gallery 30th edition. Madrid, Spain. (02.2011) ‘Estado da Arte: 40 anos de Arte Contemporânea no Paraná – 1970-2010’, trustee of Artur Freitas and Maria José Justino, Oscar Niemeyer Museum. Curitiba, Brasil. (09.2010 - 04.2011) ‘Também’, ‘Memorial de Curitiba – Fundação Cultural de Curitiba’. Curitiba, Brazil (12.2009 - 02.2010) ‘Novos encontros com o acervo, MusA – Museu de Arte da UFPR’, Paraná State University. Curitiba, Brazil (11. 2009 – 03. 2010) ‘Houston, we’ve had a problem', ‘Casa da Imagem’ art gallery. Curitiba, Brazil (07.2009) SP Arte – São Paulo International Art Fair, stand ‘Ybakatu Espaço de Arte’ gallery, 4th edition. São Paulo, Brazil (04.2008) ‘Projéteis de Arte Contemporânea’, ‘FUNARTE Rio’ art gallery. Rio de Janeiro, Brazil. (09.2005) Paraná State Contemporary Art Museum – MAC. Curitiba, Brazil (09/2004)


Awards ‘Arte Pará’, Aquisition Award. Rômulo Maiorana Foundation, 27th edition. Belém, Brazil. ‘Comentários sobre pintura’, Fellowship. ‘Fundação Cultural de Curitiba’, 2nd edition. Curitiba, Brazil (04/2008) Auction Auction ABACT, represented by ‘Ybakatu Espaço de Arte’ gallery, at ‘Pinacoteca do Estado de São Paulo’. São Paulo, Brazil. (10.2011) PIPA Prize nominated 2012 Her work was displayed in solo exhibitions at ; Vertente gallery, Campinas, SP . Brazil (08, 09. 2012) ‘Ybakatu Espaço de Arte’ gallery (09.2007) and ‘Casa Andrade Muricy’ (12.2006/02.2007) art galleries as well as at ‘Sala Adalice Araujo’, University of Tuiuti, Paraná (10.2005) The work of Tatiana Stropp is included in private and public art collections, including three Brazilian Museums: Romulo Maiorana Foundation, in Belém, Oscar Niemeyer Museum, and Art Museum of Paraná State University (MusA), both in Curitiba. Tatiana Stropp attended to the School of Music and Fine Arts of Paraná, in southern Brazil (2003); latter she completed post-graduation in Modern and Contemporary Art (2005). Currently, she lives and works in Curitiba.


Contacts tastropp@gmail.com I www.tatianastropp.com Represented by ‘Ybakatu Espaço de Arte’ gallery www.ybakatu.com I ybakatu@ybakatu.com


Photo Credits and Acknowledgments C.L. Salvaro, Katya Kur Bieninger, Marcelo Almeida, Mauricio Chiminazzo and Tatiana Stropp Juliana Stropp, Fabiane Queiroz and Tuca Nissel

portfolio Tatiana Stropp  

portfolio pinturas sobre aluminio Tatiana Stropp fotos de 2007 a 2012

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