“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”.

Lluvia ácida

Albarracin Museum, Albarracin, Teruel, Spain. 2013, July-Setember

In current postmodern times, ceramics, again, becomes a utilitarian art, but now, the utility is very different because they’re required to give support for the construction of an own discourse. The form which ceramics is presented is contextual and Rosa Cortiella’s installations are just the right example.

Alejandro Ratia; Art critic, exhibition curator.


“Acid rain” invites the visitor to participate. On a black background, up to three hundred yellow tears hang. They are made of porcelain, but mimic these pieces of glass that decorate lamps. We can wander among them. This acid rain is completely harmless, its acidity is the colour. These colours are House brand tones in Rosa Cortiella’s work. They often relate to the artificial, but, in truth, they are also found in nature, in pollen, for example, and they work as a signal of alarm or seduction.

The dialogue between the artificial and the natural is the central topic of her exhibition at the Museum of Albarracín, which offers an unseen and freshly baked (never better said) work. The ceramic, as a discipline, is a mediator between nature and culture. And Rosa Cortiella takes advantage of its capabilities. In her surprising “Herbarium”, plants exchanged properties with porcelain, in a rapid fossilization. The danger of a transgenic Botany is tracked in this colourful and rare catalog.

One of the virtues of Rosa Cortiella is her curiosity. She finds abstract shapes and funny designs in the bark of banana trees, the urban tree par excellence. She plays with these barks in “Change of wardrobe”, materializing them in porcelain, changing their colours, and in a different sort of way, in “I was going to throw them away, but I couldn’t”. Here, they become manipulated photographs, framed in porcelain rings. These rings are, in fact, waste material from other works, in which fate (and the law of gravity) intervened freely.

In Rosa Cortiella’s creations, the ceramic is mixed with other procedures in the most natural way. Her “Hybrids” are a perfect example. Again, natural elements (pumpkins) appear transmuted, reused and disguised. Humour and surprise are never missing in the work of this artist.

Alejandro Ratia; Crític d’art, comissari exposició.


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