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Painting is silent poetry, and poetry is painting that speaks. Simonides

Eduardo Berliner

nasceu em [born in] Rio de Janeiro, Brasil, 1978
vive e trabalha em [lives and works in] Rio de Janeiro, Brasil

educação [education]
Graduado em Desenho Industrial / Comunicação Visual  [Graduated in Industrial Design 
/ Visual Communication] Pontifícia Universidade Católica do Rio de Janeiro - PUC/ RJ
Mestrado em Tipogra!a [Masters degree in Typography], University of Reading, UK

prêmios [awards]
Prêmio CNI SESI Marcantonio Vilaça, Brasil

Eduardo Berliner (1978) is a Brazilian artist who has studied graphic design in Brazil and has obtained his Masters of Arts in Type design from the University of Reading (U.K.), in 2003. Now he works as an artist and a professor. In 2004 he developed a course in typography for the Catholic University of Rio de Janeiro. Later on he worked as a lecturer in the same university. He has created, with the artist Cadu, a graphic structure for a newspaper “museumuseu” a project conceived by Brazilian artist Mabe Bethonico, exhibited in the 27th biennial of San Paolo. He has also worked in the fashion industry by designing motifs for various fashion clothing brands in Brazil.

O trabalho de Eduardo Berliner está sempre relacionado ao contexto em que está inserido. A paisagem, a arquitetura, resíduos da cultura e relações humanas são reconfigurados através de narrativas pessoais, memórias e pelo próprio processo de pintura.Trabalha diariamente em seu atelier. Quando está fora deste espaço, desenha e faz anotações com frequência em seus cadernos e mantém registros fotográficos. Estes são os trabalhos que ao mesmo tempo funcionam como ponto de partida para pinturas que lidam com outra materialidade, temporalidade e escala.

Ran Ortner


Like a wave in the physical world, in the infinite ocean of the medium which pervades all, so in the world of organisms, in life, an impulse started proceeds onward, at times, maybe, with the speed of light, at times, again, so slowly that for ages and ages it seems to stay, passing through processes of a complexity inconceivable to men, but in all its forms, in all its stages, its energy ever and ever integrally present.
-Nikola Tesla, from the 1893 lecture "On Light And Other High Frequency Phenomena" 

Water is a manifestation of the multitude of wave energies that surround us, a formless, colorless, tasteless, odorless “billowing solid” (Wallace Stevens), visible to our eye only with the addition of light. A single drop potentially mirrors everything that surrounds it. Water embodies the concept of endlessness, of complexities repeated fractally from one drop to the vast sea. I expose the identity of the ancient body of the ocean with integrity by being hyper-observant to its nature, focusing on the structure, synchronicity, and oscillations of the waves.

Yet I am interested in conveying how the ocean resonates, rather than depicting it. Constantly moving in a dance that mirrors the tempo of the human body, waves break in time with the beating of our hearts, the in and out of our breaths, like a metronome marking the present moment: now, now. My paintings are about being immersed in this present. For that reason, the horizon and any other reference points are disappeared, a move that detaches my work from the tradition of marine paintings, from Caspar David Friedrich, Turner, the Hudson River. Now we are not a distant observer, but all in.

How I paint today evolved from the minimalism I practiced for years while making all white panels that echo the reign of space and silence, the sparseness of Rainer Maria Rilke "living the questions." The courage and emotional complexity of Rembrandt also influence my work, which nevertheless lives in the continuity of Abstract Expressionism. It connects with the luminosity and vastness of Mark Rothko’s transcendent fields of color as well as the vitality and intensity of Jackson Pollock’s drip paintings. 

Each day, in one painting after the next, I attend to an ever deeper engagement and understanding.

Ran Ortner, 2012

Ran Ortner was born in 1959 in San Francisco. Ran Ortner’s background as a professional motorcycle racer influenced his interest in art. Drawn to the physicality and energy of motorcycle racing Ortner later transferred this dynamism into his approach to painting. He studied art privately in Canada and the United Kingdom. His conceptual sculptures and his paintings have been exhibited in Washington, North Carolina, California, New York, Belgium and Germany. Ran was also a lecturer at the Hoger Instituut voor Schone Kunsten in Belgium. In 2008 and 2009 his work was in a traveling exhibition, “Falling Short of Knowing” which opened in New York and traveled to Singapore.


Private Studies in Canada and United Kingdom | Art Students League, New York City

Bernadette Esperanza Torres

"Telling a great story is what I do. I learned to tell stories from my family members who are all well known as non-stop talkers. I communicate by using my hands and translating these stories into clay. My ceramic sculptures often help me bring a humorous light to serious matters in my life.
My art focuses on the concepts of communication and miscommunication; things said and other things left unsaid between each other. I use animal imagery, such as Java sparrow finch birds. My Javas (Mr. Wizeman and Holly Houdini) are my muses. To me, my birds are symbols of humanity, facets of myself or of others. They represent different voices of the world, either cheerleaders or naysayers. Each soft slab hand-built clay figure tells a story. Voluptuous females are nurturing, protective symbols to me, connecting my work to my Mexican/Italian female family members. These sculptures serve as spirit guides and thoughtful studies; they are a way for me to manifest intentions, relieve anxieties, and whisper secrets. For instance, the conjoined sculpture “She Thought She Was Her Sister’s Twin” is a story about my sister “de-friending” me on Facebook. As sisters, we are joined together in a bond (the conjoined arm holding hands), always looking over each other’s shoulder, judging one another yet not dealing with our own problems (represented by the squawking Java Sparrow birds). 
Currently I’m working on wheel thrown, 17” clay platters designed to hang on the wall. The series, “Waiting For Instructions,” is about my mother’s recent death with an aggressive cancer that grew in days that took her away in one month. The series begins with a platter that is brightly colored with clay flowers and birds. The platter is titled, “Don’t worry, I Am Here”. Six months before my mom’s death I had dreamed she had died. I called her at her work and she told me, “Don’t worry, I am here”. The second platter in the series is, “She felt upside down.” The colors start to drip out of the flowers onto the bottom of the platter. The third platter in the series is called, “Wishes and Dreams”. It is all white.
Hand building allows a personal connection with my materials and my forms; that intimacy is imperative when processing my emotions into clay. Using my hands to create meaning with images and materials empowers me in all aspects of my life. Manipulating clay not only creates sculptures, but also “builds” me as an artist, an educator, and a woman. "

Chris Riccardo

"We are living in a world of hypocrisy, it permeates us like a virus, making us weaker everyday. We as a society have lost our ability to think for ourselves and are told what we should eat and wear and drive and whom we should fuck. 
I make ceramic sculpture that some have said is shocking or disgusting. I believe I am only showing what we are all truly thinking or desire in some way. I do not set out to shock, because I don't believe anything I have created is shocking, I believe it is truth and honesty. If my work does shock or offend then I have struck a nerve in the viewer and I say, 'well done SIr!". It's the hypocrites I want, to present them with something so shocking, yet sculpturally beautiful that they can't take their  eyes off of it!"

1990 - BFA- College of Fine Arts, Boston University, Boston, MA


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