Dolmen-III, stone and ceramic, 13 x 11 x 8"
Met-Amorphoses, mixed media,
11 x 11 x 4" (left piece), 7 x 15 x 12" (middle piece), 11 x 9 x 9" (right piece)
Dolmen V, stone and ceramic, 12 x 6.5 x 5.5"
Paris Place de L'Etoile, clay and ceramic, 15 x 11 x 8"
1997 Wilton Library Show, Wilton, CT
1998 Earthplace Gallery, Westport, CT
1999 Exposition au Carroussel du Louvre,
2000 Jeune Création, Paris, France
2002 Annual exhibit of the Collage Society,
Lincoln Center Gallery, NY
2004 Spectrum, Carriage Barn Arts Center,
New Canaan, CT
2004 Summer Show, Stamford Art Association,
2004 President’s Show, Kent Art Association,
2005 “Focus on Sculpture”, Grounds for Sculpture,
2005 62nd Annual CT Artists Exhibition,
Slater Memorial Museum, Norwich, CT
2005 Annual Show, Housatonic Museum of Art,
2005 Contemporary Sculpture Show,
Chesterwood Estate and Museum, Stockbridge, MA
2005 Winter Show, New Britain Museum of Art,
New Britain, CT
2006 Oil and Water, CityLights Gallery,
2006 Pen and Brush, Inc,
New York, NY
2006 Blanche Ames National Juried Art Exhibition,
Borderland Estate, Easton, MA
2007 Krause Gallery, Providence, RI
2007 PMW Gallery, Stamford, CT
One Person Exhibitions
2005 Bartlett Arboretum Gallery, Stamford, CT
2005 Putnam Trust Company, Greenwich, CT
2006 Greenwich Art Society Gallery, Greenwich, CT
Private Collections (France)
Education and Experience
Mosaic and Tile Design Apprenticeship, France
Drawing classes, Silvermine Art School, New Canaan, CT
The artistic background of Geraldine Marcenyac is based on journeys to Italy (Ravenna, Venice...) as well as observing, then assisting her uncle from Catalonia, Spain in realizing large-scale mosaics. In her current work, she has associated the mosaic technique with geographical observations of terrain and land: She uses curved and geometric shapes of ceramic tiles that she applies on organic shapes made of clay or stone. The negative spaces created around the tiles become an independent structure evocatively reminding us of streets or any infrastructural system. Then again optically they appear to be protruding, recalling the image of a fishing net or spider web.
In her most recent work, the ceramic tiles associated with the dark grout describe terrain in terms of its topography. The exploration of the spaces in between has led to an abstract representation of an urban topographical map – Paris Place de l’Etoile or Paris L’Ile de la Cité with streets (dark grout), blocks (ceramic tiles) and, hills and depressions sculpted on the supporting stone or clay piece. The map-like object seems to be viewed from outer space constantly keeping a delicate balance between its linear elements and its segments.
Alice Wolfenstein, Art Critic