Cecilia Granara

b. 1991, Saudi Arabia 

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Cecilia Granara was born from italian parents in Jeddah, Saudi Arabia, in 1991. Both painter and writer, she focuses on self-fiction, poetry, feminism and religious iconography. She is interested in cultural attitudes towards sexuality and bodies, and in the use of color as a vehicle for emotions. 

In 2013 she received a BA in Fine Art with mention of Honours from Central St Martin’s College of Art and Design and a BA in Fine Art from the Ecole Nationale Supérieure des Beaux Arts in Paris. She studied with François Boisrond, Tim Eitel and James Rielly. In 2019 she won a scholarship to pursue her studies at MFA level at Hunter College. Cecilia Granara presented her collaborative performances with Bea Bonafini at Tate Modern, London, Camden Arts Centre, London, and at Guest Projects (Yinka Shonibare) London.

 During her residency program, Cecilia worked on a
new series of paintings which evoke our relationship
to nature, pleasure and pain.

As a response to the pervasiveness of the social
phenomenon we call burn-out, in this new series of
canvases, ideas of regeneration and tenderness,
and hope after death, are explored through the
representation of bodies in a transient state.

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Francisco Moreno
Piñata Party, 2019
Acrylic on wood
51 x 41 cm | 20.75 x 16 in

Francisco Moreno
Tangled Serpent, 2019
Acrylic on wood
51 x 41 cm | 20.75 x 16 in

"Participating in 2019 CP Studio residency in Milan gave me the space needed to take my paintings to the next level. I had mostly focused on large-scale painting installations up to that point and wanted to focus my energy paintings. When visiting the Pinacoteca di Brera, Poldi Pezzoli, Santa Maria delle Grazie, and Pinacoteca Ambrosiana, I would get lost in the rich storytelling displayed in the luscious paintings from the  14th - 17th century. I began to think about all the accompanying formal elements in classical narrative paintings and how they added to the final picture, such as the whimsical grass or symbolic characters that existed in the periphery of the paintings. How these accompanying elements were important and unique and could tell a story on their own. I began to explore how to use these classical elements to talk about contemporary ideas. Skeleton Grass, 2019 is one of my first attempts at exploring this idea".

-
Francisco Moreno

Francisco Moreno, Piñata Party, 2019, Acrylic on wood, 51 x 41 cm .jpg
Francisco Moreno, Skeleton grass, 2019 Acrylic on wood 51 x 41.jpg

Francisco Moreno
Skeleton Grass, 2019
Acrylic on wood
51 x 41 cm | 20.75 x 16 in

Francisco Moreno, Obsidian Egg for Dogs, 2019, 51 x 41 cm.jpg

Francisco Moreno
Obsidian Egg for Dogs, 2019
Acrylic on wood
51 x 41 cm | 20.75 x 16 in

Francisco Moreno, 12 21 2019, 2019, Ink on Paper, 10,5 x 15 cm.jpg

Francisco Moreno
12 21 2019, 2019
Ink on paper
10.5 x 15 cm | 4 x 6 in

Francisco Moreno, 12 21 2019, 2019, Ink on Paper, 10,5 x 15 cm .jpg

Francisco Moreno
12 21 2019, 2019
Ink on paper
10.5 x 15 cm | 4 x 6 in