NEW YORK, NY.- Ruiz-Healy Art announces Cecilia Biagini: Detour. This is Biagini's fourth show with the gallery and her first solo show at Ruiz-Healy Art in New York. Cecilia Biagini: Detour presents a selection of different modes of Biagini's approach to abstraction such as mobile works and wood sculptures that relate to her first installation Montaña, 1998 at Centro Cultural Recoleta, Buenos Aires, to her ongoing series of intersecting organic forms painted in bright colors, a series she started developing in 2017. Also featured is a new group of paintings in which abstraction is taken to the most minimal synthesis of color and form.
Biagini's works in Detour veer from the traditional formulae associated with South American abstraction. The color palettes, materials, and designs deviate from what would be the norm. It is as if after having developed an abstract vocabulary of her own, Biagini then breaks it, and pursues a different line of action. In Cecilia Biagini: Detour we can expect adaptability and intuition taking abstract forms, using inspiration from life itself as a malleable element.
For Biagini, life is a duality. “A practical life would be a difficult life, I need to open a new dimension. I'm too emotional so art helps me translate it into something that I can bring back to life. For me there is not much distinction between my life and art.” The artist treats her practice as a constant exploration, an excursion into the tangential, all relating to each other but never totally meeting at a set point.
Inspired by traditions of South American abstraction, Cecilia Biagini makes paintings, mobiles, photograms and reliefs that flow seamlessly from medium to medium. Utilizing a bold sense of color, line, depth and abstraction, the varied works find commonalities in their composition and playfulness. Evoking ideas of physics, the geometric shapes in her work are arranged in a manner suggesting movement and animation. “Conjuring the ludic with pure geometry in space, my work at times refers and alludes to musical and rhythmic waves, pseudo-scientific models/diagrams and is always anchored in the purity of the medium itself.” – Cecilia Biagini
Cecilia Biagini studied painting with Guillermo Kuitca in Buenos Aires and attended university for sociology. Biagini received the Photography Critics Award from the Centro de Arte y Comunicación in 1989 and was a recipient of the Kuitca Scholarship in 1994, and then again in 1997, when her work was short-listed for the prestigious Braque Award and the Gunther Award. In 1998 she moved to New York, where she co-founded the exhibition space, The Hogar Collection, in Brooklyn.
Her work is included in many art collections including MACBA Museum collection, Buenos Aires; Ministerio de Educación de la Nación Argentina;The University of Texas at San Antonio, San Antonio, TX; The New York Public Library, New York; and The Department of Homeland Security in Washington D.C. Additionally, her artwork has been exhibited at notable museums including MoMA PS 1, New York City, NY; The Cervantes Institute in Rome, Italy and in Buenos Aires, Argentina; the Recoleta Cultural Center, Buenos Aires, Argentina; The Museum of Fine Arts, Houston, TX; the PROA Foundation, Buenos Aires, Argentina; and the Museum of Modern Art, Buenos Aires, Argentina.
