“When will doubts about the contribution of the ceramics to the story of humanity end? When will our long history and the enormous importance of our hallmarks be recognized? But it turns out that apart from history we also have a prodigious present full of creativity which guarantees a promising future”
Antonio Vivas; art critic. Director of the magazine “Cerámica”.

Els segles XX i XXI a les col·leccions...
Casanovas, María Antonia; art critic, curator of Barcelona Ceramics Museum
To: The XX and XXI centurys in the collections of the Barcelona Ceramics Museum. 2008, Barcelona

Rosa Cortiella is an ingenious, original ceramicist with a magnetic personality, equipped with a proven, ongoing interest in the plastic richness of clay and in colours as ornaments: the most vibrant shades on the market. Free of any theoretical conventionalism, she works spontaneously, creating installations of enormous expressive power and surprising subtlety. Despite being conceptual, her early works revealed a certain respect for traditional forms. Today and without abandoning her origins, she prefers to keep moving ahead, exploring new and different areas. She takes pleasure in breaking norms, in transcending pre-established concepts, in cultivating ambiguity and creating double meanings. And she does so by concealing the clay’s material propeties, camouflaging the forms through the use of acid colours, disorienting the spectator’s eye, subjecting it to observation.

Rosa Cortiella’s colour range is not that of traditional ceramics but one evocative of synthetic and artificial materials. In this paradise of strident colours that bring to mind dyes used for ethnic fabrics, she finds the ones that adapt to her works, play up her desings and characterise her artistic personality. This can be clearly seen in her installation “Camouflage”, which occupies a corner of the Museum’s Contemporary room. Set against a striking orange background, it consists of eight slender, irregular, spindle-shaped trunks, in black with orange streaks, which hang from the ceiling, slightly brushing the floor. Her view is that a work must illuminate from within, breathe and move trough colour. It must be posous to the sensations and stir the senses.

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