Cecilia Martin Birsa - Sculptural Artworks Catalogue by studio tablinum

CECILIA MARTIN BIRSA

SCULPTURAL ART WORKS

CATALOGUE

CECILIA MARTIN BIRSA

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“You should become an artist” Placido Castaldi told me. And I listened to him. “Artist” Aldo Flecchia told me years later “ is rather presumptious, I consider myself simply a sculptor”. “History” assured Giorgio Perazzone, “ proves everyone of us right or wrong” Three people, three milelstones along my way. “Are you able to live off art?” they often ask me: “ Certainly” I reply “ without it, I would only be surviving. From being a child I drew on a blackboard. In adolescence I designed my moods on billions of scraps of paper. During my frequent train journeys, I pestered the other commuters to let me draw them. The most appreciative were the coloured prostitutes. My maestro Placido taught me preferably to draw and paint naturally. It was an honour for me to show together with him, in the Benedetto Croce library in Pollone. But, above all, he taught me to sculpture:- “You are born a sculptur, you do not become one” he repeated often. “look at the stone, observe it well, draw first, then work it. Since I discovered stone, I havent been able to put it down. River stones, hard as iron, unpredictable, with its inclusions it is a universe of colours and natural history, primordial, telling stories of hundreds of millions of years: of magma and the depths, of ice and of earth. Creating a sculpture is for me a moment of deep concentration. Mucronite, serpentine or granite are not the same as clay or marble, to which excellent artists or sculptors impose soul and shape, but they need to be heard, to be , dialogued with, to be consistently researched, very similar to deciphering a form submerged in water. I hide in the beauty of the stone, which has been waiting millions of years to become sculptur. Being fully aware of my responsabilities, I transform the stones into the human being that possesses the most promise of beauty: woman.

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CECILIA MARTIN BIRSA S C U LT R I C E

1) Stones of the Elvo torrent (Biella, Piedmont, Italy, where I live and work), divided in turn: a) emotional sculptures b) Sculptures of pictorial sense 2) Group of figurative sculptures 3) Group of stone carvings in Monte Rosa

All of my works are characterized by the use of Paleozoic stone - medium. The stone that I sculpt, usually coming from mountains or river of the Prealps are much older than marble. These kind of stones are characterized by extreme hardness and they can not be shaping or subduing to the creative will. It is important that the sculptor could "listen" the essence of the stone. Every sculpture is for me a research in which I am constantly tested, in an attempt to reconcile the will to impose a concept and listen to the primordial and mysterious strengths of the stone.

Cecilia Martin Birsa, Scultrice

My sculpture works can be divided into several creative phases:

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Emotional Sculptures

WOMAN IN THE MIRROR The "mirroring woman" is the icon of all my work for size and meaning. I carry my whole world into the intimacy of a small dimension, where the reader, if interested, must approach, stand still, try to decipher. Sculpture tells the dialogue of the soul that, mirroring, lives a conflict: on the one hand it rejects and on the other looks for harmony.

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THE CREATIVE WOMAN

A sculpture that represent my self-portrait: when something hits my creative sensitivity, I study it intensely. In order to represent my effort in that sculpture, the punch represents the effort of my body's nerves aimed to reach the goal.

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THE CRAWLING WOMAN

The color of this diorite (gray smoke from London) has suggested me deeply. That stone evoked to me a figure in motion: a woman who crawl, in a simil-combat movement. A crawling woman that still moves, despite the difficulties and never gives up.

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04CM - donna che arranca

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THE NODE The volcanic nature of this stone, full of ferriferous minerals and quartz inclusions, has been complicated to solve.

Before begun to sculpt that stone, I felt that I would respect the "emotional" nature and the structure of that volcanic stone. So I decided to convey all of my pain and torment by

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THE HOSPITALITY The prevalent color of this peridotite, intense yellow, suggested to me the image of luck. Life can create different opportunities, which should be welcomed by us with a warm and hopefull hug.

Positivity must start from us, from our mind and from our soul.

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THE ARQUATA

Mucronite is a typical stone of Mount Mucron of Biella, from which it is named. Particularly hard and suggestive, that stone suggested this feminine form of great spirituality.

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LA GAVETTA

That sculpture talk about the effort of the soul that, striving for the attainment of its goal, divides itself into two: one part leaves himself confident, the other side maintains. The focal point lies in the tension-distension, as a contrast element, in the neck of the two figures.

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017CM - La Gavetta

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Pictorial instinct THE WARRIOR WOMAN

Some stones suggest a pictorial sense: this green-lake granite with vermilion inclusions has evoked the image of one of the few "standing" sculptures I've made (the creek stone usually does not lend). The warrior assists a bright and marvelous sunrise, protecting his eyes from the dazzling light.

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UNDER THE BEECH

The small golden spots in the female figure, made of stone coils, are for me, points of light. They were created by the rays of the sun when they crossed the foliage of the beech to caress the body of the woman.

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NUDE ON THE BLADE

The blue color evokes water, the small intense yellow spots recall the rays of the sun filtering in the stream blade.

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PORTRAIT OF MY MASTER PLACIDO CASTALDI

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THE CROW

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THE PIG Sculpted on commission, that sculpture now is joined to the private collection of Dr.Battaglia, at the "Lido di Venezia". His collection of works of art with that animal as subject, of every art period, size and material, is the second largest in Europe. Everything begins at the Galleria Melori & Rosenberg, Venice, September 2016, where I have my first personal exhibition. Dr. Battaglia sees exposed sculptures: "Are you be able to carve a pig in the stone?" So I accept the commission. But, since I do not have the subject to copy, I decide to buy one. I'm going to a farm, where hundreds of pink The fling Pigletthe aisle. pigs "What do you want?" ask the farmer to me. And I reply: "The first one who can handle it." Fate has it that the farmer has captured a female pig. Blockhead, overpowering and aggressive. With or without a leash, she always goes where she wants. fight with cats and dogs, who have the terror of this piglet. In a few hours, she raises the cobblestones of the path and turns the stones back into the courtyard: plowed and ready for a potatoes planting

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THE BULL "Where do I find the subject?

I can not buy it as I did with the pig! " Said done: visit and photograph three breeders: Claudio Valcauda of Bagneri, not far from the village where I live; Bruno Prola, in Benna; Mercandino, in Mongrando, with its beautiful white Piedmontese leaders.

Allevatore Claudio Valcauda, Bagneri

Allevatore Bruno Prola, Benna

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Allevatore Mercandino Antonio, Mongrando

History of a black stone sculpture: from South Africa to the village of Bagneri (Biella) to be carved, then joined to a private collection.

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A BLACK BLACK CAT "Cecilia Martin Birsa with her river stone represented her cat. I find this sculpture not only beautiful in its fanciful and expressive dynamism, but also because of the technical difficulty and the originality that distinguishes it. I remember Cecilia Martin Birsa was presented by the gallery Donatella Melori of Venice also participated in the exhibition I created for the Castle of Caccamo this winter Kolossos II: The return of the invisible (with the representation of his archaic goddesses referring to the Mother Goddess always in stone of the ' Elvo The artist Biellese has received me the "Art Critic Award", also known in this work as an almost archaeological reference to the statue of the Egyptian "Sacred Cat" of the British Museum in London " Francesca Mezzatesta - art critic- Sicily- Palermo-

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PORTRAIT OF A FATHER WITH HIS SON AND GRANDCHILD

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MADONNA

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Inauguration and consecration of the "Madonna that dissolves the knots" (in micronite), in the private chapel of Zubi (Biells)

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Sculptures with pink stone of Monte Rosa PINK NUDE

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SELF PORTRAIT

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GIOCOSA

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TORSIONE

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TORSINI

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ELVO VALLEY : AN O

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OPENAIR WORKSHOP

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THE BOROUGH OF BAGNOLI

RESIDENCE AND ACCOMMODATION

THE LAB OF CECILIA MARTIN BIRSA

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Critical Reviews

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The little child sculptor loved to design in a myriad of cards what would once have taken shape and plasticity: her wonderful and original sculptures. An artistic journey that has lived since the dawn of precious counseling and apprenticeship at the atelier of Masters such as Placido Castaldi, from which he teaches and awareness of what will then be his way: the Art. Her love for nature leads her to choose a matter that compels par excellence, meaning deep from the depths, in the set of motions and colors, that induce her to imagine that the stones of the rivers can come to life in a a multitude of forms and creatures, entangled with energy and history. Strength is taken from the past and, metaphorically, laid on the harmonization of tactile sensations and impressions of genesis and panaplonia, in which matter and spirit support can mingle with each other and the subject is metamorphosed into the subject: the "Woman". Thus the amorphous stone under the touch of Cecilia Martin Birsa ceases to be static volume and follows the course of another "river" the one in which through the chisel, it suffices and epiphany of inner shape. The discovery of a stone and reveals its pure essence, sublimating what appears corroded by the water games in the bottom of the rivers, in which the waving of the water, can already be imagined in her. It is by no means their source of water, the symbol of life and giving of life, and in Mater Na-

ture, which reminded her of the sensitive appeal of woman par excellence. In the crucible of material force, the synthesis of that ancestral force of the beginning of the whole is enclosed. By analogy, the stone welcomes the desire to "return" in soft and contradictory forms flowing and dancing like the same waters it comes from. "Jolts" of nature become ductile decorative pretexts, obtained from natural veins that give more expressiveness to the various poses, their feelings and characters by yielding nobility of their essence between nature and history written in them. Paradoxically read, "crumble," or are in a hug or lift their heads to heaven, which mirror, as ascetic reminders of their deities from which they descend. The observer sees with their gaze all their beauty and pulsation of vitality, the emotional "essence" of those bodies, but at the same time tenderness. A necessary dialogue, a pledge to a new space that will circumscribe it to bear witness to its strength, will and ascendance to the future. Messages sent to the woman of the present, an artistic language that through sculpture becomes charismatic and empathetic repertoire. So from the use of mucronite to the brilliance of the granite, thousands of millennia stones revitalize, which even before the chisel, have been worked by the flow of water and become creatures already living under the visionary eye of sculptor Cecilia Martin Birsa. Silver-like reflections such as those of the moon sidereal caressed as they would make a curandera, turn them into poetic musees, whose imprints as indelible rhymes, inside and out of the water, confuse their breathing and mnemonic sounds of the creeps of streams becoming. The artist has recently been successful in numerous exhibitions and recently by critics and printers, in the Lagoon at the New Ghetto in the gallery Melori & Rosenberg and in the award of art criticship I delivered to Kolossos II edition for his mini staff in the hall of the Belvedere of Caccamo Castle (Palermo). Dr. Francesca Mezzatesta - historian and critic of Art and Entertainment.

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L’anima delle donne è stata oggetto di studio e riflessione e analisi da sempre. L’essere umano è complicato, ma le donne lo sono particolarmente. Lo sanno gli uomini e lo sanno le donne, che a volte sono le prime a non comprendersi. Cecilia Martin Birsa ha cominciato come pittrice, e poi è stata introdotta alla scultura di sassi di fiume. Ha capito che era la sua strada, e ha deciso di portare avanti questa tecnica con i risultati che vedete oggi esposti. Rappresenta le donne; rappresenta le sfaccettature emozionali delle donne. E sappiamo per certo che ogni donna si riconosce in almeno una delle opere di Cecilia, a seconda del suo trascorso e delle sue inclinazioni. Anche alcuni visitatori uomini che ieri hanno avuto una preview della mostra, hanno riconosciuto le loro mogli in alcune delle sculture. Un paio di signore si son fatte fotografare accanto alla scultura in vetrina, “Nervosa”. Vi invitiamo a cercare voi stesse all’interno della sala, siamo sicure che ci siete anche voi. La tecnica della scultura di pietre di fiume non è semplice. Occorre una forza non da poco, per trasportare le pietre e per scolpirle. Occorre equilibrio, perché una martellata leggera non crea nulla, ma una troppo potente rischia di crepare la pietra e bisogna buttar via tutto. Occorre pazienza, per trovare la pietra giusta, per materiale, colore, venature, dimensioni. Occorre fantasia, per lasciarsi guidare dalla pietra stessa e spesso deviare dal progetto iniziale. Occorre tanto talento. E Cecilia ha tutto questo, è una ragazza incredibilmente dotata, ma questo lo vedete da soli. Siamo molto orgogliose di presentare questa mostra, soprattutto nel nostro ventesimo anniversario. Siamo 3 donne (adesso con Maya 4) e questa mostra la sentiamo particolarmente. La Galleria Melori & Rosenberg, inaugurata nel 1996, è stata la prima galleria d’arte contemporanea nell’antico Ghetto Ebraico di Venezia. La Galleria ospita in permanenza una collezione scelta di opere, ed organizza mostre personali e collettive in varie sedi. Galleria Melori & Rosenberg, Campo del Ghetto Nuovo 2919, Venezia.

Mostra personale della scultrice biellese Cecilia Martin Birsa, “L’anima delle donne” alla Galleria Melori & Rosenberg di Venezia sotto la curatela di Donatella B. Melori.

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Solo of sculptress Cecilia Martin Birsa, "The soul of women" at Galleria Melori & Rosenberg in Venice under the curator of Donatella B. Melori. Women's soul has been the subject of study and reflection and analysis ever since. Human being is complicated, but women are particularly. Men know it and women know it, sometimes they are the first to not understand. Cecilia Martin Birsa began as a painter, and then she was introduced to sculpture of river stones. He understood that it was his way, and he decided to carry on this technique with the results you see today exposed. Represents women; represents the emotional facets of women. And we know for sure that every woman recognizes at least one of Cecilia's works, depending on her age and her inclinations. Even some men visitors who yesterday had an exhibition preview, recognized their wives in some of the sculptures. A couple of ladies were photographed next to the sculpture in the showcase, "Nervosa". We invite you to look for yourself inside the room, we are sure you are there too. The technique of sculpture of river stones is not simple. We need a little force to carry the stones and sculpt them. Balance is needed, because a light hammer does not create anything, but a too powerful is likely to crack the stone and you have to throw everything away. You need patience, to find the right stone, for material, color, grain, size. We need fantasy, to let ourselves be driven by the stone itself and often deviate from the original project. It takes so much talent. And Cecilia has all this, she's an incredibly gifted girl, but you see it alone. We are very proud to present this exhibition, especially in our twentieth anniversary. We are 3 women (now with Maya 4) and this show we hear it particularly. The Galleria Melori & Rosenberg, inaugurated in 1996, was the first contemporary art gallery in the ancient Jewish Ghetto of Venice. The Gallery permanently hosts a selected collection of works, and organizes personal and collective exhibitions at various venues. Galleria Melori & Rosenberg, Campo del Ghetto Nuovo 2919, Venice.

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Taking forms from stone implies a dual physical and mental commitment; we might call it a maieutical operation: guessing the shapes that a stone block hides in their heart and working hard to get rid of it and make it visible to everyone. This is the work of the sculptor, art of fatigue, sculpture “for lifting” (as Michelangelo said). Sculture was traditionally The sculpture was reserved by great names (Donatello, Michelangelo, Bernini, if we cite excellent names of masters) all male: because sculpture has been considered for centuries as an act of force; a struggle with matter in order to tear up ideas. What happens when the commonplace is banned and the artist, the sculptor, becomes a woman? ... how do feminine sensitivity and strength coexist, what do they create? Here we have the answer with the work of sculpture by Cecilia Martin Birsa.

The subjects born from the sculpture of Cecilia are feminine expression and combine the hardness of stone processing, all the fatigue, the sensitivity of its soul, to the ever-deep reflections that characterize the sculptures of Cecilia. Last year we admired him in works such as “Woman in the Mirror” in which he expressed a femininity to admire herself and her double with all her baggage of feelings and contradictions. Today, at the exhibition at the XI Florence Biennale, we admire in “La Gavetta” all the tension and the drama of the soul that, focused on its goal, can not abandon itself to the confidence of its actions without, at the same time , sustain itself and be brave himself. The impassable road of the artist who works with determination, counting on his own capacity, is wonderfully expressed in this work. We would like to thank the strength and sensitivity of Cecilia Martin Birsa who gives us athat can reach the soul of those who admire them!

Elisa Larese, Tablinum Cultural Management written text for the sculpture by Cecilia Martin Birsa La Gavetta on occasion of its exhibition at the XI Florence Biennale, Firenze, Fortezza dal Basso, 6-15 Ottobre 2017

Fatigue, the act of strength in order to tear excess matter and free form, sublimate in the delicacy of the emotions that these forms, finally free, transmit us.

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On the occasion of a Paratissma 13 edition, suspended between symbolic and imaginary thanks to the theme "Superstition"; The sculptorial verve of Cecilia Matrin Birsa. Cecilia Martin Birsa's sculptural verve is embodied in the spirit of two animals that have always been present in the imagination of fairy tales and legends: a black cat and a crow. Two sculptures from the Artist's Figurative Period and which immediately fascinate us. in this "sculptural struggle", Cecilia has freed from the stone the tender figure of a black kitten with arched back, intent on stretching and falling into a lazy yawn. We imagine it, this kitty, basking in the sun in balance on the florist's roof of the artist's atelier, or on a winter evening in front of the warmth of her roaring fire. The feline profile with the puffy muscles and the arched back are so realistic that we too, enthusiastic and enthusiastic, are tempted to approach and stroke the mantle in Zimbawe's Absolute Black. here, once again, from the stone block, the sculptor's expertise has released a living character of emotions that leaves us suspended, in contemplation of Beauty, and sweeps away any claims of superstition. A crow, animal too that brings upon himself a burden of symbols and superstitions: if we were to find an animal that represented full anthropological superstructures of our collective imagination would certainly be him. But Cecilia has outlined the forms of this crow, blossoming it out of the blackstone of Africa to return us not an animal fanned by all kinds of superstitions, the positive or negative valorys that different civilizations have in the midst of the ages associated with this animal, but a creature with a proud passion and a thick plumage, just moved by the wind, that looks at us from the stone upon which he has just appla We can admire it in all the beauty and perfection that nature has given to it and learn to abandon filters and preconceptions and learn to love and consider reality for what it is: discover this way an unexpected gift! Elisa Larese, Tablinum Cultural Management

Written for the sculptures of Cecilia Martin Birsa “Black black cat” e “The Crow” exhibited at Patassima XIII, Torino 1-5 Novembre 2017

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Cecilia Martin Birsa, in this stage of the festival "Paths through the Imaginary" hosted In Torino at the exhibition space Math12, want to stimulate the imagination linked to the female and subvert it.

All three sculptures are characterized by a reduced size. The favorite format for the sculptor, who is not afraid to try the difficulty involved in small-scale production, and who seems to say to the spectator: "If you want to understand my message you must approach, analyze my work, reflect on what I would like to communicate. art is a continuous exercise of introspection, otherwise it is not art! ". "Woman in the Mirror" is a sculpture of precious symbolic value: the female soul, artist's soul, reflects and sees in itself a force that tends to reject and harmonize its deeper interiority; It is definitely a much loved sculpture from its executor: sense this by the extreme care with which it was made. "Crowling Woman" with its dark gray diorite tells us a sense of tenacity, an extreme inner force that pushes this figure even if it is very difficult to not stop before the difficulties of life. And finally, we have a self-portrait that is intensely beautiful and essential: we can identify the features of Cecilia, greeted with firm delicacy between the dark gray striations of migmatite. The streaks collide with those basic light gray in a play of colors of great beauty ... thoughts and emotions of the artist seem to emerge a "stone flower" and bisbigliarci its secrets. From these geologically ancient stones, gush new ways in which emotion prevails up to outline a new concept of femininity, finally stripped of unnecessary frills and conventions, finally free to express itself thanks to the tenacity of this sculptor. Elisa Larese, Tablinum Cultural Management Written for the sculptures of Cecilia Martin Birsa in the occasion of "Paths through Imaginaryâ&#x20AC;?, Spazio MAth12, Via Silvio Pellico 12, Torino, ITALIA

Here, the artist is ready to scrap our form of mentis through three sculptures that already pose a challenge to the visitor: "Crawling woman", "Woman in the mirror" and "Self portrait". The stones used (serpentine, migmatite and diorite) have all been sought after, found and worked (because yes, for a sculptor the stones are not all equal!) In the Valley of Elvo, where Cecilia lives and works.

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CECILIA MARTIN BIRSA

Riverstone Sculptures by Cecilia Martin Birsa image n° 01CM 02CM 03CM 04CM 05CM 06CM 07CM 08CM 09CM 010CM 011CM 012CM 013CM 014CM 015CM 016CM 017CM 018CM 019CM 020CM 021CM 022CM 023CM 024CM 025CM 026CM 027CM 028CM 029CM

titolo L'arcuata Donna allo specchio Donna che crea Donna che arranca Il nodo L'accoglienza La nervosa La guerriera L'ora più buia Maternità in preghiera Nudo nella lama Scutare Sotto al faggio Stralunata Superare il lutto Tuffo a bomba La gavetta Gatto nero Giocosa Madame Nudo rosa Ritratto Il Toro Ritratto Triplo Torsione Il Corvo Placido Castaldi Madonna Torsini

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LIST OF WORKS tipo di roccia mucronite serpentino serpentino con inclusioni granato diorite gabbro peridotite granito granito con inclusioni ferro serpentino peridotite con inclusioni ferro serpentino granito con venature di quarzo serpentino porfido peridotite basalto porfido bicolore nero assoluto Zimbawe migmatite granito rosa indiano Juparanà granito rosa valsesia migmatite nero Africa Dorata della Maremma migmatite nero Africa sienite della Balma mucronite migmatite

dimensioni cm. 35x36x20 16x19x16 29x29x16 35x14x20 26x32x26 21x16x12 30x20x15 33x15x10 20x31x15 13x9x10 20x30x13 20x21x14 22x12x14 21x6x10 25x15x12 20x15x13 28x50x16 44x18x37 22x10x13 30x37x60 45x18x21 27x15x17 34x44x37 72x54x34 40x20x20 44x20x20 40x30x50 70x40x30 28x26x12

peso kg 16,60 3,80 3,80 4,10 15,30 5,10 18,40 5,40 6,60 3,50 7,20 3,90 5,10 0,30 4,80 3,00 12,00 21,70 3,50 31,00 16,40 13,60 60,00 220,00 17,60 20,00 150,00 140,00 14,80

anno 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2015 2016 2017 2017 2016 2017 2017 2017 2017 2017 2015 2015 2015 2017

CECILIA MARTIN BIRSA

Cecilia Martin Birsa S C U LT R I C E www.ceciliascultrice.it Strada Scuola Apostolica 1 13895 Muzzano (Biella) ITALIA +0039 349 32 44 026 | info@ceciliascultrice.it Designed by Tablinum Cultural Management for Cecilia Martin Birsa

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