arteba 2026

Claire de Santa Coloma’s (Buenos Aires, 1983) practice concentrates on the symbiotic relationship between body and material. It is evident that the notion of sculpture translates from her predominately wooden sculptures to her works on paper. Her language oscillates between formal body forms to abstract compositions, in a harmonic rhythm, ebbing and flowing in the realms of the constructed and the natural. There is an equilibrium in these dialogues as the force and concentration required to manifest these works is combination of “economy of gesture”, meditative processes, collaborative exchanges of the artist and dynamics of the material she employs in her works. The physicality in the pieces is not immediately revealed, only the forms themselves allude to shapes that echo the human form, as the eye follows the lines of a curve and light creates depths and shadows unveiling itself in the viewers’ presence. This relationship between observer and sculpture is engrained in the artists’ psyche as Santa Coloma explores the nature of our engagement with three-dimensional works, often inviting one to caress the pieces, as this triggers the senses and activates memories and associations different to those of simple observation.

Whereas the cut-out paper works rely principally of the play of light and darkness, in that the depth and compositions change depending on the light intensity. These works composed of hundreds of hand-cut forms, resembling micro islands upon closer inspection, the lines edges cut in a manner to harness the light, in turn causes lines and form to appear, they are however small mirages set into the works to obscure and reflect the light. The force and gesture required to construct both the sculptures and works on paper seem initially contrary to one another, however, are unified by the idea of the perseverance of creating the perfect form and procurement of balance.