Drawings on paper:

mixed technique,

with china ink and biro . 

Gladys Sica

Italo-Argentine contemporary visual artist and poet

"Domenica, poesia, tango e poi..."
(Domenica, poetry, tango and then...)
Mixed technique cm 70x100 2007

"Viaggio in India" (Travel in India)
ink on paper cm 50x70

"Ora è possibile, gli occhi ridono
l'attesa è morta nel fuoco,
mai più saremo soli" (It's possible now, the eyes laugh, the wait died through fire, never more we'll stay alone)
China ink on paper cm 50x70

"Tango infinito" (Endless Tango)
on paper cm

"Reclami dell'anima" (Soul complaints)
Biro on paper cm 50x70

"Pareja de tango " (Tango couple)
Biro on paper cm 50x70

"Nuestro inapresable, abisal corazòn"
(Our elusive, abyssal heart) Biro on paper cm 47x57

"Gravidez III" (Pregnancy III)
China ink on paper cm 36x45

"Gravidez II" (Pregnancy II)
and China ink on paper cm 36x46

"Gravidez IV" (Pregnancy IV)
China ink on paper cm 36x45

"Impotenza e potere" (Impotency and power)
on paper cm 50x70

"Uomini cadendo dal mondo" (Men falling down the world )
on paper cm 50x70

"Buenos Aires-Mosca-Milano" (Buenos Aires-Moscow-Milan)
China ink on paper cm 50x70

About art and poetry fusion
Yes, at first poetry supports itself, painting attracts by itself, the same happens with sculpture, with engraving, intagliated cartons, wall paintings, etc. every language is self-sufficient, without need of so many external supports or essential explanations for the breath of the work itself.

Then, as you have proven from you during our conversations, it can be seen that all I do beats inside me united by the same thread, everything appears exchanging itself and completing without exclusiveness of a language on the other, everything fed with the same intensity of search and the same incessant passion.

But to discover this it needs to draw near more and, when this happens, the other ones get a vision amplified of the discourse, in a certain way, of my universe...

Interview to Gladys Sica by Edith Checa published on spanish magazine “Jirones de Azul”(04.08.2006)

Where come from the acid sourness of red, yellow, brown tonalities of these Gladys Sica works? Why do the violet, the green, blues tonalities become impatient of their shades and lights?
And, moreover, what dazzles, what calcinations, what phantoms are projected on canvasses screen now often scanned by bars, lines or subdivisions almost geometric, suspended as between a way of leading stained glass and a mosaic rhythm?

Giorgio Severo, one-person exhibition "Cascina Grande" public Gallery, Rozzano, Milan, 2005.

Copyright by © Gladys Sica
All rights reserved. Unauthorised copying, reproduction, printing and/or circulation are prohibited without author’s authorization or quotation.