christine palamidessi
Mediums Used
Christine Palamidessi’s work investigates what it means to be human, creating an experience for art viewers and art collectors that shares simultaneous dimensions of form and non-form, of protection and display, and of physicality and transcending physicality. She often uses paper, which she embeds with plaster and other hardening agents, which is folded and molded into human shapes. Sometimes she paint the shapes; other times allows the shapes to resemble stone and artifacts. Text is part of her artwork and can be found inside, on top of, or next to her sculptures.
I enjoy getting my hands dirty and working with materials–plaster, paper, wire, wood and lights–and then painting or bending and layering those materials. One material I go back to over and over again is paper. Paper is simply exciting: write on it, color it, bend and wet it. Fold it. Harden it. Maybe I`m fascinated with paper because I wrote the novel and was a professional writer for the first 25 years of my career. However, with the advent of the internet, paper flew away and the screen emerged. I wanted to hold paper again.
I found my niche. For the past decade I`ve been working with the Italian cartapesta technique that I learned from an Italian artisan, Claudio Riso, in Lecce, Italy, where the art form has a long history. To create many of my sculptures, I use a glue-less paper, wheat glue, and plaster. Just as in the traditional execution of the craft, I form the sculptures by working inside a plaster mold. In my case, the molds are most often made over human models. I prefer human scale, classical design and process all my art from the inside out. The intention is to reveal the Inner Self. What emerges on the surface of my art–both sculpture and prints–has its root inside the person/figure/torso.
I make my molds from plaster. Working inside the mold, I carefully puzzle and layer successively larger pieces of torn paper. I begin by pressing 1/2” by 1/2” pieces of paper inside the mold, starting at the rim and working toward the center. The small pieces fit snugly together with very minimal overlap. The next layer of puzzled paper is 1” by 1”; the next 2” x 2”; the next 4” x 4” and so on for 8 layers. Paper is moistened with water and wheat paste.
When wet, Lecce paper is flexible, clay-like. Working the layers against the mold and over the preceding layers requires a lot of thumb action and just the right pressure so as to eliminate air pockets. An air pocket would result in a dip, lump, and/or a bubble on the surface.
The paper cures/dries in the mold and is then removed.
Sometimes the artistic process stops here. Or, I may collage on the sculpture, paint it, or compress it to make a printing plate. Or I might weave lights inside the sculpture. Or silk threads. Other times, using plaster or another agent, I harden the sculpture to be like stone.
Sculptures by christine palamidessi
Credentials
Qualifications
BA in Film and Writing, University of Pittsburgh, 1973.
MA in Creative Writing, Boston University, 1995.
Hands-on study with mask-making, ceramic and cartapesta artisans in Venice, Rome, Tricase, and Lecce, Italy. (1990, 2008, 2010, 2012, and 2014)Artist Residency:
ACCM Residency, Palace Bacile di Castiglione, Spongano, Italy, 2015.
BAU, Otranto, 2014.
Dorset House, Dorset, VT, 1992, 1994, 1996, 1998.,BA in Film and Writing, University of Pittsburgh, 1973.
MA in Creative Writing, Boston University, 1995.
Hands-on study with mask-making, ceramic and cartapesta artisans in Venice, Rome, Tricase, and Lecce, Italy. (1990, 2008, 2010, 2012, and 2014)Artist Residency:
ACCM Residency, Palace Bacile di Castiglione, Spongano, Italy, 2015.
BAU, Otranto, 2014.
Dorset House, Dorset, VT, 1992, 1994, 1996, 1998.Exhibitions
yes
Awards
American Academy in Rome, Visiting Artist and Scholar, May 2017.
MASS MoCA, North Adams, MA, 2017. ACCM Residency, Palace Bacile di Castiglione, Spongano, Italy, 2015.
BAU, Otranto, 2014. Dorset House, Dorset, VT, 1992, 1994, 1996, 1998.Awards:
1998 Dante Alighieri Fellowship (study in Rome).
1996 Barbara Deming Award for Women Artists.
1995 UrbanArts Award (public art).Publications
Select Book Publications:
The Virgin Knows - St.Martin’s Press, 1995; GATE Press 2010; Kindle 2013.
The Fiddle Case - IAP 2007; GATE Press, 2010, Kindle, 2008. American Women, Italian Style - Fordham University Press, 2010.Recent Art Related Press:
Les Femme Folles: Women in Art, February 2016
Art as A Spiritual Practice, Spirit of Change Magazine, 2016,Select Book Publications:
The Virgin Knows - St.Martin’s Press, 1995; GATE Press 2010; Kindle 2013.
The Fiddle Case - IAP 2007; GATE Press, 2010, Kindle, 2008. American Women, Italian Style - Fordham University Press, 2010.Recent Art Related Press:
Les Femme Folles: Women in Art, February 2016
Art as A Spiritual Practice, Spirit of Change Magazine, 2016
Christine Palamidessi`s sculptures and paintings are held in private collections in Italy, US, Dominican Republic and Brazil. Her work has been exhibited in galleries in Boston, Washington D.C., Pittsburgh, Woodstock, Vermont, England and Italy; and in Boston`s State House. Her memoir “Grandmothers” is engraved on granite monolith installed at Jackson Square in Boston. She is author of two novels and editor of a collections of fiction and academic writing. Palamidessi works and resides in Cambridge, MA.
Greek and Roman Antiquities; Ancient Hindu sculptures; Samuraii Warrior Art; the color in Botticelli and Giotto`s work; the weight and space in Gaugin and Matisse; energy in Italian Futurism; Joseph Beuys philosophical outlook; Andy Warhol`s commercialism; Cy Twombly, Jean-Michel Basquit use of text on paintings; and the sculptors Rodin, Moore, Modigliani, Eva Hess, Marina Abakanowicz, Nancy Holt and......
Recent Art Related Press:
Big, Red & Shiny, November 2017.
Les Femme Folles: Women in Art, February 2016.
Art as A Spiritual Practice, Spirit of Change Magazine, 2016.
Eight-foot Granite Monolith "GRANDMOTHERS" installed in Boston MBTA, Jackson Square Station, Boston, MA USA