Gladlys Sica


The intagliated carton, arte povera, mixed technique, poor and minimalist art:




"L'abbraccio della natura" (The nature embrace)
intagliated carton cm 75x 100 2006


Gladys Sica

Italo-Argentine contemporary visual artist and poet

"Niño de India" (Child of India) 1998
intagliated cartoncm 23x45




"La distanza che salva" (The distance that saves) intagliated carton cm 90 x16 2005


"La forza della natura " (The nature power)
intagliated carton cm 90x116


"Tregua" (Rest)
intagliated cartoncm 40x50


"Cataratas" (Cataracts)
intagliated carton cm 40x51

"La semina" (Sowing)
intagliated carton cm 40x80


"Noche de tango"
(Tango night)
intagliated carton cm 40x120

"Tango del sur" (South tango)
intagliated carton cm 40x80

"Tango de mi paìs" (My country tango)
intagliated carton cm 50x70

"El tango de la vida" (The tango of life)
intagliated carton cm83x108

"Sotto l'albero dei desideri" (Under the tree of desires)
intagliated carton cm 60x80

About the different languages

Yes, the embrace between different languages is something that could strengthen an idea, a work; I’m interested to do it also with music. Union of my images with Luis Benitez words turned out to be a natural joint, almost the same sea, behind, that flounders. Besides, there are memories… in 1975 we met reading the surrealist manifesto by André Breton, Paul Eluard, Louis Aragon, the bright Antonin Artaud, etc. inside a group of teen-agers musicians, poets and delirious (I believe that only Luis was of age) reunited through an announcement, in the Buenos Aires square that bears the name of the writer Argentine Roberto Art, published on the underground magazine "Expreso Imaginario." Decades later, he introduced and he read passages of my other book during the inauguration of my one-person exhibition in the district of St. Telmo, always in Buenos Aires, that I made before returning to depart.

Even if our link was always sporadic, it can be seen that coincidences of topics, go beyond the matter of the territories and the personal situations, they allow run through synchronic and deep pursuits with the seal of this contemporaneity.

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

“…a different production, the one on carton, minimalist, itself with its own inner articulations: to proper painting comes up to its side a way of creating absolutely peculiar, unique, maybe. If you look closely: on many carton works perspective is not obtained with the usual illusion effect, using perspective technique, but with a digging activity that skins the material making a good use of grooves concrete inwardness with its play of lights and shadows."

Franco De Faveri, one-person exhibition presentation at “Sargadelos” Gallery, Milan, 2003.

“As show the most recent in relief works made out carton, where the deep and penetrating sign
amalgamates itself to tonal drafting now monochrome, now with dull and impoverished tones, as to go in symbiosis with the arte povera utilized material.”

Gianni Pre, review on “Controcorrente” magazine, Milan, 2000.

“In this way in her pressed carton decorative panels (a technique invented by herself in contamination with bass-relief particularly) there are the remembrances of “milongas” and of “tangueros” of her native country that try to annihilate the rises of that «distance», that first to be geographic is metaphysic.”

Sergio Spadaro, one-person exhibition presentation at Pessano con Bornago library, Milan, 2000.

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