Carolina Antoniadis

Del Infinito Arte, Buenos Aires

By Victoria Verlichak | November 28, 2011

Carolina Antoniadis (Argentina, 1961) exhibits her paintings, photographs and objects that summarize part of her biography and reveal the marked interest in design noticeable throughout her work. Behind an apparent exuberance of colors and vibration, the artist’s pictorial oeuvre hides more than what it shows. Even when she appears to share her intimate universe with the spectators, the artist tends to fill the canvas with figures of women and children whose facial traits have been omitted, walking into silent winding paths that refer, perhaps with nostalgia, to the personal universe of her childhood. In Judenstil, in Del Infinito Arte, ornamentation returns to the foreground, being completed with circular shapes painted with transparent lacquer on top of acrylic paint. But, as a novelty, she allows the viewer to catch a glimpse of abstraction in angles, stripes and color bands that depict the pleasure she evidently derives from color and paint.

Carolina Antoniadis

While the colors take possession of the paintings and transmit contradictory moments, optimism for the brightness and affliction for the absences, the pieces of shattered dishware in the installation Colección shake the viewer through their allusion to loss, deterioration and the passage of time. By contrast, in a showcase she exhibits the compilation of memories, ceramics, motifs, dolls and more; this is the collection of objects that accompany her daily in the studio, giving rise to many of her images. On the other hand, Suites renders baroque interiors designed by the artist and including her own paintings in the decoration, displayed in octagonal framed photographs of different sizes as a kind of installation, reinforcing the artist’s decorative tradition. Antoniadis’s workshop is on the first floor of what used to be a printing house, where for many years she had Enio Iommi, to whom she dedicates this exhibition with gratitude, as a neighbour.