Born in L'Aquila, she live and work in Umbria (Italy). In 1988 Caterina Ciuffetelli began her “poetry of line”: a work in progress in which signs – small or big, curvy, broken, gouged or lightly etched, in relief, all rendered shifting by the light – are what characterise her way of representing herself and the world in abstract forms. These signs impose themselves on the material of the background, and themselves become a part of this material, bestowing form to a language that has matured through an almost archaeological exploration of residual essences. The artist also traces signs on cellotex, a substance that is linked to the natural essence of wood. Her choice of material is indeed an integral part of her work and is the result of her need to return to the origins of her evolution as a painter and to the origins of existence. She uses material as a support on which to paint or to leave expressive traces even leaving it, in part, in its natural state so that it can be appreciated simply as material. Her earliest work exemplifies some of the stages of such an approach or “poetics”. In the series Improbabili geografie, (1998-2001), the coloured and contrasted painted areas are delimited by unstable confines inviting the viewer to let herself become a playful explorer of microcosms. In Curve (2003), the large waves that stand out through chromatic contrast and the juxtaposition of shiny and matte indicate the artist’s exploration of a harmony in space, a space which is occupied by forces, energy, and emotions as in the eternal contrast of yin and yang, capable of finding a balance in the flow of curvilinear movement. In the series “Foule” (2005), one can see an urgency to establish an order, without limiting it, to the crowding of thoughts that push their way to the surface. The result is a formal and fatally momentary organisation of memories, emotions, instincts only occasionally overcome, ready to immediately fall away and to lose themselves once again in the primordial chaos. In an increasingly fragile world where the image mirrors the virtual and not the real the need for concreteness is translated in an essential form, almost as if the painter, at the end of an historical exploration of her own essence, arrives at the simplest and most rational expressive sign: the geometric form. As if at the beginning of a new life, the artist recovers archaic modes of communication drawing from those Mycenaean signs with which art revealed itself at the dawn of painting: structural simplification, abstract outlines, but also and above all expressive synthesis. At the same time, Caterina Ciuffetelli’s strength is knowing how to distance herself each time from mere decoratism giving life and vitality to her “forms”; from geometric symbols they become calligraphic signs that at one time stand out and while at another blend in depending on and changing according to time, light, and colours. Thus, her geometric forms become magmatic and pulsating in the search for a space in the horror vacui that the comforting crowding of daily life produces. And, if on the one hand they recall small repetitive signs from the decoration of typical ancient Oriental vases, on the other hand they acquire material substance and, playing with the light in a constant relationship of shiny and matte as in a game of hide-and-seek, they create vital energy dominated by monochromatic.
Mine is a constant reflection on the mystery of the creative process and on the artist as a medium. I use a tool that is matter; mostly paper, cellotex, sand and plaster, as well as natural elements such as branches, algae and stones. I often use frottage to construct symbolic signs of the spoken language, a language that is not necessarily from our past but rather from an "elsewhere from here", an unknown and mysterious place that is partially revealed through signs emerging from the depths to the surface. Signs being formed at the edge of reality and ready to dematerialise like dreams, if not promptly and gently captured by the work. In parallel the matter itself has its own linguistic code, revealing and strengthening the message. Thus the paper will speak with its own transparency, the sand with its abrasiveness and the cellotex with its own characteristics (its textures). The meeting between these two orders of reality subsumes in artworks that succeed in reaching a unique character. The matter becomes the ecco, the support and the amplifier of the underlying sign that pushes its way to the surface from the "other" place. The "voice" is a silent song that questions and calls without ever holding back. As an artist, I choose to listen to it, beyond the the noise, where the waves land in the mystery of silence. I explore the fragility, the transience, what is hidden in the folds of reality and risks not being found. My attention is "called" by what cannot be heard. For this reason I often choose paper; it expresses these concepts better than any other medium. It has the transparency, the fragility, the lightness and the ductility necessary to bring to reality the sign that has emerged from the depths and now lies stranded on my beach, leaving me the responsibility for it's welcoming. Caterina Ciuffetelli 2018
SELECTED SOLO EXHIBITIONS
2020 CLOCK. Arredare Designed Space Terni. 2019 Ordine Imperfetto Reloaded. Palace of Priori Narni, Curated by Lorenzo Rubini. Ordine Imperfetto. Forzani Gallery Terni curated by Lorenzo Rubini. 2012 Oggetti ed altri racconti. Watts Studio San Gemini curated by Franklin Watts 2010 Langage. Fat Gallery, Ex-Siri Museum Polo, Terni, curated by Indisciplinarte 2007 Abstract. RestaurArte, San Gemini (Tr), curated by Marco Testa 2006 Foule. Placebo, Terni 2003 Curve Odradek Library, Rome 2001 Improbabili geografie. Forzani Gallery, Terni 1998 Caterina Ciuffetelli. Forzani Gallery, Terni
SELECTED COLLECTIVE EXHIBITIONS
2020 August issue of “Frattura Scomposta – contemporary art magazine” curated by Sergio Curtacci. Project “ARTISTI per ALINA ”. Travelling exhibition with the annual award ‘’ALINA’’ Forlì – Oratorio San Sebastiano – Spoleto - Spazi espositivi del Comune di Spoleto (ex Monte di Pietá). Curated by Sanda Sudor. Della resilienza, della sopravvivenza, l'arte ai tempi del Covid-19. MACC Museo Arte Contemporanea Cisternino. Curated by Alberto Vannetti. SEGNI PERMANENTI curated by Pina Della Rossa. LILT.ART.7 2020 “Sale Accademia” Monumental Complex of Broletto Novara. Curated by Massimo Romani. Telai Officine Fratti Perugia. Curated by BUTIK Collective. 2019 P.A.A.C. Premio Arte Architettura città di Colleferro Roma curated by Gianluca Marziani. L’INFINITO–PIU’ VICINI ALL’UNIVERSO DOVE ANNEGA IL PENSIERO - Rome Art Week Complesso Monticello, Roma. Curated by Roberta Melasecca and Fabio Milani. 2018 CONNESSIONI – Rome Art Week Spazio Maddalena Roma. Curated by Roberta Melasecca. SCRITTURE D’ARTISTA Palazzo Sant’Elia Palermo curated by Nicolò D’Alessandro and Enzo Patti Artists for the social museum in Danisinni 2017 October-November issue of “Frattura Scomposta – contemporary art magazine” curated by Sergio Curtacci 2016 CINQUANTAPER60. Forzani Gallery Terni curated by Massimo Forzani 2013 Vanity Art –Volti e opere. Terni curated by Sergio Coppi and Chiara Silvestri. Cromosoma 2x. Studio Watts, San Gemini curated by Franklin Watt. ARTE.misia. Via Aminale Hall Terni curated by Maela Piersanti. 41 passi. Primavera Palace, Terni curated by Lorenzo Pietrosanti. 2012 Per una esegesi visiva del messaggio biblico. Caltanissetta Diocese curated by Diego Gulizia. Sound in the art. AH-UM Festival, Milan curated by Marco Testa. Opportunità. Galleria64Rosso Florence curated by Marco Testa. Opere su carta. Studio Watts San Gemini curated by Franklin Watts. Opening Museo del Presente Nicosia (EN) curated by Nino Arrigo. 2010 Ars Palliorum - Prize for Contemporary Art Narni curated by Gaia Cecca. Mangia le prugne - Auction in favor of the Cystic Fibrosis Research Foundation– Villa Erba, Cernobbio (CO). 2009 Il Filo d’Arianna. Arte Fiera Off. Prendiparte Tower Bologna curated by Marco Testa. Il Filo d’Arianna. Albornoz Tower Narni curated by MarcoTesta. La memoria, le immagini. Diocesan and Capitular Museum Terni curated by Gaia Cecca and MarcoTesta. In ordine sparso 2. Restaurarte Gallery San Gemini curated by Marco Testa. Pace e riconciliazione. Diocesan and Capitular Museum Terni curated by Mino Valeri and Claudia Sensi. 2008 I draw. Restaurarte Gallery San Gemini curated by Marco Testa. Alchimie d’arte. La Palazzola Collection Museum Foundation Guido Calori San Gemini curated by Marco Testa. MiMuovo. Atelier Orange Terni. Strane prospettive. RestaurArte Gallery, San Gemini curated by Marco Testa. 2007 Ouvres jumelèes. Chateau de Saint Ouen Paris. InForma. Ex-Chiesa S. M. Maddalena San Gemini curated by Marco Testa. 2006 Dintorni/Around. Aspasiel Company Art Gallery Terni curated by Simona Angeletti. 2005 Ars Palliorum – Prize for Contemporary Art Narni curated by Gaia Cecca. 2004 Artisti Contemporanei a Terni. Show Room Tomassini curated by Giuliana Stella. Pasqua degli artisti. Terni Cathedral curated by Don Fabio Leonardis. 2003 Segni di pace. Vittorio Botti Gallery Arrone curated by Ugo Antinori. 2002 Sabato in galleria. Forzani Gallery Terni. 1993 Il segno delle donne. Forzani Gallery Terni. 1992 Incontri. Forzani Gallery Terni. 1991 Geografie dell’altrove. Forzani Gallery Terni. 1988 Contemporanea 30-99. Orneore Metelli State Institute of Art Terni.
Her work is present in Arte e Società a Terni dal 1800 ad oggi. Paolo Maggiolini 2008 Thyrus Editions.