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Work on canvas:
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2013
2012
2011

2010
2009
2008
2007
2006
2005
2004
Before 2004

Work on paper:
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2011
2008
2006
2005
2004
Before 2004

Mixed Media:
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Wall Paints 2010
Fregar i Somniar

Résumé (C.V.)
Words on my work
Reviews
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Art a Pratdip

Reviews

La Vanguardia. Spetember 2, 2011 LaVanguardia.pdf

(in Catalan)

Una pintora a Pratdip: Promoure l’activitat cultural al municipi és un dels objectius que Carme Bassa s’ha propossat pels propers anys.

MARC SOLER Pratdip
Feia anys que la pintora Carme Bassa li donava voltes al projecte de deixar Barcelona, tancar el seu estudi del carrer Canuda, abocat damunt la plaça Villa de Madrid, per instal·lar-se lluny de la capital. A Pratdip hi va trobar el que portava buscant des de feia temps: un vell edifici, allargat, de teulada a dues aigües, en definitiva, un antic galliner en desús que va transformar –amb el consell i col·laboració d’Itziar González– en el que avui és la seva residència habitual i estudi amplíssim i lluminós. L’arribada a la població d’aquesta antiga alumna de l’Escola Massana i de l’Escola Eina –a la primera, amb els companys de curs, va protagonitzar una revolució negant-se a pintar bodegons i a la segona va aprendre els recursos de la pintura amb Ràfols Casamada i Patricio Vélez–, va fixar les bases d’una relació amb Pratdip molt estreta des d’un bon començament. La finca es troba en un paratge – El Planas o El Colomer–, ni gaire a prop ni massa lluny del poble.

En realitat Carme Bassa arribà a Pratdip amb una idea de vida però també amb un projecte cultural. “Tenia al cap que treballar col·lectivament et permet créixer i resulta més enriquidor. I que allà on anés a parar establiria lligams amb la zona”. “La pintura ja es un exercici prou solitari...”, explica la pintora. En va informar a l’alcaldia quan el municipi es va interessar per la seva arribada. “Els vaig explicar –continua Bassa– que això era un projecte cultural. (...)

(Continua: LaVanguardia.pdf)

 

Sala Maragall. November 2005

Carme Bassa: the color of a universal feminity

The painting exhibition of Carme Bassa proposes a poetic glance to the world that surrounds us, either revealing the soul of the daily objects coming from the dialogue which they conform with their shared presence and the emotional load given to them by our mutual coexistence; or in the cosmic connection of a universal dialogue that approximates concepts and representations, approaching different cultures while avoiding both geographic and cultural borders.

One can propose a thread to catch all the complexity of this artist’s work, who observes the world that troubles her from a feminine but not feminist perspective. Daring to use this word despised by a culture of clear macho connotations, and putting on the canvas another voice to which infinite echoes are added.

WORKING (RE)SEARCH. Her works never start from a premeditated concept, rather is the constant dialogue with the painting, during the working process that develops its contents. The contact with the materials, while painting, makes her sensitivity flowing in a natural way, addressing all her inner drive to the hand in charge to represent her feelings. On the other hand, this reveals her as a tireless artist when it comes to explore the unknown to catch the unexpected.

The technical procedure used by Carme Bassa in the elaboration of her art is the traditional encaustics (beeswax mixed with resin and pigments). This fact alone begins to shape her discourse that will also be developed in the contents of her work: the awareness of the past.

UNIVERSAL SYMBOLS. The incisions that draw signs and symbols of a both private and universal world, bring to the memory the human necessity of the stroke, of the track. Her paintings could become walls for the souls housel, or an atemporal mirror for the permanence of the gesture. Cave paintings, symbols of ancient cultures or drawings of Paul Klee, all in all, the magic of being conscious that there is a code of coincident communication exists when one learns to listen and to participate in synergy.

GODDESSES. The feminine representations that Carme Bassa makes are done from the point of view of a woman interested for the woman world. Accomplice as well of sharing this world, she sublimates it whereas she has chosen the symbol of a woman who represents the divinity, recovering, in addition, ancestral roots.

Her goddesses evoke forms of the pre-Hellenic classic world, concretely those of the proto-Attic style like, for example, the Lady of the Beasts. Drawn in geometries that determine the synthesis capacity, with vibrated lines that suggest the force, and within an aesthetics that outlines an identity formed by a strongly Mediterranean legacy, looking forward to recovering the sacred aspect of painting as well.

LIGHT OF THE MEMORY. The sensitivity of this artist leads her to a poetic investigation of the world that surrounds her. Carme Bassa pours into her works something that comes from the most deepest part of her and that’s why the cultural substrate of everything she’s lived is shown, evoking Pompeii’s frescoes in the windows of its painted architectures, cloisters and drawings of ancestral cultures floating in the landscapes of the memory, enlightened by the closed light of a memory. An old memory, because of the aging character that she gives to the treatment of her pieces, but also very alive, because of the contemporary character of her views on the woman place in the current society.

Pilar Giró (Bonart magazine, November 2005)

 

Article 26 Gallery (1999)

The world that Carme Bassa creates is an ancient one and a new one at the same time. Like the beauty and character that age brings, her work has the depth and patina of wrinkles on a human face, of having lived, grown and evolved into something better and more complex. Her subtly worked paintings are offerings containing gestures and silhouettes of implied images and fleeting objects. These incised figures are contained within a simulated impasto of quasi bas-reliefs which refer to a prehistoric iconography very reminiscent at times of petroglyphs of cultures long gone. These graphic elements in her work are like the traces of memory etched in stone in which other places and other epochs have resided.

Carme Bassa moves in and beyond the soil of her origins, unveiling shapes and textures is a subliminal reflection of her native geography in her use of austere Catalan forms and colors. Her heavily textured surfaces are influenced by the range of hues found in this environment; she uses primarily earth colors and a luminescent Mediterranean blue. There is a voluptuous aesthetic of pigments and materials in her encaustic paintings on canvas, the overlay paint is mixed with marble powder and the build up of resin, beeswax and paraffin create a depth of surface. Like tracks in the desert sand, Carme Bassa’s paintings contain enigmatic symbols of a secret language carved into the waxen surface.

Katherine Slusher

 

 

   
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