PORTFOLIO
Cristina de Gennaro PORTFOLIO
Sage Drawing X. 2019. 42X96 inches.
Charcoal on mylar.

My current landscape drawings have been developed in tension with 18th century notions of the sublime, focusing on abject and mundane spaces rather than grand vistas. Comprised of eroding sagebrush, weeds, and soil, they reference decay and abjection, while also depicting the beauty of the organic patterns. These drawings reflect my experience of aging and are related to an earlier photographic series, "Medusa Portraits," that explore the association of the "feminine" in Western philosophy and culture to earth and decay, as well as its biological connections to birth and life.
Cristina de Gennaro PORTFOLIO
Sage Drawing VIIII. 2018. 42X96 inches.
Charcoal on mylar.

My experience of aging is complex and filled with contradictions: age has brought with it not only knowledge and power, but fragility and loss -- and my landscapes reflect that. Rather than depict a dazzling New Mexican sunset, I have turned my gaze downward and I find myself drawn to the eroding sagebrush ubiquitous in the high desert.

Cristina de Gennaro PORTFOLIO
Sage Drawing VIII. 2017. 42X96 inches.
Charcoal on mylar.

I photograph the plants with my iPhone on panoramic mode, and as I slowly walk across the scene, the phone scans the forms below. Later, working from the photographs in my studio, I draw the organic systems, exploring the tensions between pattern and complexity, order and chaos.
Cristina de Gennaro PORTFOLIO
Sage Drawing VII. 2015. 42X96 inches.
Charcoal on mylar.

These are uncomfortable spaces that are meticulously rendered, creating simultaneous feelings of attraction and repulsion. They mark the day-to-day erosion of a materiality bound by time, the sublime they explore is one tempered by the abject. I find their dis-order, their decline, to be filled with movement, pattern, grace, and beauty.

Cristina de Gennaro PORTFOLIO
Sage Drawing VI. 2014. 12 panels, 48X48 inches overall.
Acrylic ink on mylar.

In the earlier drawings of this series, I severely cropped the images so that the forms are abstracted and ambiguous, reminiscent of root systems and microscopic images of bodily vessels. Each translucent panel is layered with another drawing, reinforcing the depth of the tangled, twisted shapes and resisting the contained order of the grid.
Cristina de Gennaro PORTFOLIO
Sage Drawing VI. Detail. 12 panels, 48X48 inches overall.
Acrylic ink on mylar.

Cristina de Gennaro PORTFOLIO
Sage Drawing I. 2013. 8 panels, 16X72 inches overall.
Charcoal on mylar, archival inkjet prints on rag paper.
Cristina de Gennaro PORTFOLIO
Medusa Portraits. 2012-2014. 18X24 inches.
Archival inkjet prints on rag paper.

In this series, I was interested in exploring the aging "feminine" as complex and non-binary to the "masculine" while also claiming its connections to the biological and the physical, as linked to the earth, to both life and death, order and disorder.

Cristina de Gennaro PORTFOLIO
Medusa Portraits. 2012-2014. 18X24 inches.
Archival inkjet prints on rag paper.
Cristina de Gennaro PORTFOLIO
Medusa Portraits. 2012-2014. 18X24 inches.
Archival inkjet prints on rag paper.

Cristina de Gennaro PORTFOLIO
Medusa Portraits. 2012-2014. 18X24 inches.
Archival inkjet prints on rag paper.
Cristina de Gennaro PORTFOLIO
Half Empty/Half Full. 2011. 24X36 inches.
Charcoal and graphite on mylar.

Cristina de Gennaro PORTFOLIO
Remember/Forget. 2008-2010. 36X72 inches.
Acrylic paint and graphite on silk organza.

This piece is comprised of two layers of translucent organza, the top layer listing things I had remembered and the bottom layer listing things I had forgotten. I was interested in how personal and public events coalesce in one's memory when they occur roughly at the same time.
Cristina de Gennaro PORTFOLIO
Remember/Forget. Detail. 2008-2010. 36X72 inches.
Acrylic paint and graphite on silk organza.

Cristina de Gennaro PORTFOLIO Gouache and archival inkjet prints on Japanese gampi paper, acrylic and latex paint.
Memento (If These Walls Could Talk). 2006.
Site-specific installation in the Glyndor Gallery at Wave Hill, Bronx, NY.
Gouache and archival inkjet prints on Japanese gampi paper, acrylic and latex paint.

Invited to develop an installation addressing the theme of survival, I focused on the history of Wave Hill and the Glyndor Gallery building to create a site-specific piece emphasizing the importance of memory to survival. My goal was to mark the history of the site, to make it visible to the viewer and, by doing so, to emphasize the present as part of the dynamic continuum of time, linking our past to our future.
Cristina de Gennaro PORTFOLIO Gouache and archival inkjet prints on Japanese gampi paper, acrylic and latex paint.
Memento (If These Walls Could Talk). 2006.
Site-specific installation in the Glyndor Gallery at Wave Hill, Bronx, NY.
Gouache and archival inkjet prints on Japanese gampi paper, acrylic and latex paint.

After researching the history of the site as a private estate and, then, a public garden from the mid 1800s to the present, I became interested in the Chinese wisteria vine that surrounds the building today -- a plant that is over 100 years old and has survived three reconstructions of the building and one fire.

Cristina de Gennaro PORTFOLIO Gouache and archival inkjet prints on Japanese gampi paper, acrylic and latex paint.
Memento (If These Walls Could Talk). Detail. 2006.
Site-specific installation in the Glyndor Gallery at Wave Hill, Bronx, NY.
Gouache and archival inkjet prints on Japanese gampi paper, acrylic and latex paint.

I attached tromp l'oeil paintings of wisteria seed pods on gampi paper throughout the space and embedded texts, printed onto gampi paper, into the walls; these referenced personal, cultural, biological, and geological time frames. The texts, shifting in tones from light to dark grey, evoked a series of whispering "voices" emerging from the walls and encouraging viewers to make connections between the present site and its history.
Cristina de Gennaro PORTFOLIO
Memento (If These Walls Could Talk). Detail. 2006.

Cristina de Gennaro PORTFOLIO
Memento (If These Walls Could Talk). Detail. 2006.
Cristina de Gennaro PORTFOLIO
Memento (If These Walls Could Talk), Detail. 2006.

Cristina de Gennaro PORTFOLIO
Pentimenti Drawings. 2009-11. 3 panels, 30X108 inches each.
Gouache, charcoal, graphite, archival inkjet prints on Japanese gampi paper.

Each drawing is comprised of three sheets of translucent paper hung adjacently so that the compositions, viewed from two sides, are affected by the traces of drawings and prints from the underlying sheets.
Cristina de Gennaro PORTFOLIO
Pentimenti Drawings. Detail. 2009-11. 3 panels, 30X108 inches each.
Gouache, charcoal, graphite, archival inkjet prints on Japanese gampi paper.

Cristina de Gennaro PORTFOLIO
Pentimenti Drawings. Detail. 2009-11. 3 panels, 39X108 inches each.
Gouache, charcoal, graphite, and archival inkjet prints on Japanese gampi paper.

The three layers in each drawing are thin and fragile and shift with air currents, causing images from underlying sheets to move in and out of focus. Images foregrounded on one side become mere shadows when viewed from the other.
Cristina de Gennaro PORTFOLIO
Pentimenti Drawings. Detail. 2009-11. 3 panels, 39X108 inches each.
Gouache, charcoal, graphite, archival inkjet prints on Japanese gampi paper.

Cristina de Gennaro PORTFOLIO
Pentimenti Drawings. Detail. 2009-11. 3 panels, 30X108 inches each.
Gouache, charcoal, graphite, archival inkjet prints on Japanese gampi paper.
Cristina de Gennaro PORTFOLIO
Pentimenti Drawings. 2009-11. 3 panels, 30X108 inches each.
Gouache, graphite, archival inkjet prints on Japanese gampi paper.

Cristina de Gennaro PORTFOLIO
Improbable Spring. 2004-2008. Installation at Arts Westchester, White Plains, NY.
"Found" wallpaper sheets, wooden dowels, gouache and archival inkjet prints on rice paper.

The installation was a response to my father's death, which occurred in the early spring. The walls were activated by light moving through the cut-out shapes in the wallpaper to form silhouettes of robins, present, and yet intangible.
Cristina de Gennaro PORTFOLIO
Improbable Spring. 2004-2008. Detail. Installation at Arts Westchester, White Plains, NY.
"Found" wallpaper sheets, wooden dowels, gouache and archival inkjet prints on rice paper.

Cristina de Gennaro PORTFOLIO
Improbable Spring. Detail. 2004-2008.
Gouache and archival inkjet prints on rice paper.

I filled the two windows in the gallery with paintings of robins on printed rice paper and layered the paintings to create a "landscape" of birds.
Cristina de Gennaro PORTFOLIO
Improbable Spring.Detail. 2004-2008.
Gouache and archival inkjet prints on rice paper.

Cristina de Gennaro PORTFOLIO
Improbable Spring. Detail. 2004-2008.
Gouache and archival inkjet prints on rice paper.

The robin, long associated with spring and rebirth also relates, through juxtaposition and the handling of media, to temporality, loss, and memory.
Cristina de Gennaro PORTFOLIO
Improbable Spring. Detail. 2004-2008.
Gouache and archival inkjet prints on rice paper.

Cristina de Gennaro PORTFOLIO
Body Drawing. 1996-98. 35 panels, dimensions variable.
Charcoal and gesso on wooden panels.

This is a fragmented self-portrait, using the body to create a "landscape." Looking from one direction, the viewer sees the front and from the other, one sees the back.
Cristina de Gennaro PORTFOLIO
Body Drawing. 1996-98. 35 panels, dimensions variable.
Charcoal and gesso on wooden panels.

Cristina de Gennaro PORTFOLIO
Still/Life. 1996-98. 18 panels, 10X10 inches each.
Oil paint and brass plaques on wooden panels.

This series of paintings is based upon the Western tradition of Vanitas, which I used as a vehicle for reflections on women and aging. The painted texts consist of fragmented thoughts about female body image and the brass plaques are engraved with proverbs -- examples of received "truths" about aging. Combining image and text, the paintings critique our cultural valorization of youth by linking notions of beauty and gender with the devaluation and fear of aging.
Cristina de Gennaro PORTFOLIO
Still/Life. 1996-98. 18 panels, 10X10 inches each.
Oil paint and brass plaques on wooden panels.