I was always fascinated with the concept of Moebius strip, where the endless undefined, is the “structural framework” of my current works. It is Moebius and the search of the logic of the constant flow of the curves that regulates the movement. As an eternal french curve tool.
The flow of the movement of certain marine creatures Is also a space reference. There are no straight lines, unseen gravity, no upwards, nor downwards, no ground to bear. My pieces have no base, neither front nor back, they can be hanged or supported anyway. Each choice reveals different spaces and different voids fluidly connected.
The choice of materiality has to do with the sensory experimentation of the hands in the clay, with the satisfaction of the touch and with time of the ceramic that allows me to explore movements and spaces. I can flow, rock in curves, wander, until I find the movement of each piece. It is the material that sets the temporal and physical limits, I simply look for them and that gives the result of each piece. The material delimits the thicknesses, the tensions, the supporting structure. With respect to the material, I leave it uncovered, showing its matter without makeup or glazes. I work at the cellular level of the mass, adding elements to achieve different textures and tensions. The size of the pieces has to do with the size of my bones, of my interstitial space, currently exploring the subtle points in depth.
Carola Compa graduated with honors in architecture from Rosario National University, Argentina in 2002. She worked in the field of Interior Design and explored furniture design to then focus entirely on three -dimensional abstract sculptures. Her medium of choice is ceramic. Compa explains, as she builds her pieces, she uses her senses to connect with her sculptures, sensing the touch of the curves that translate into visual spaces that flow through the form. For her, the shapes arise from the trace of imaginary lines- they are the invisible record of the movement in time. The movements emerge from the perception of her body, her bones exploring the space. On other occasions, the form emerges from the conscious observation of the geometries of nature forming a juxtaposed network of curves that build voids, or voids that build curves.
As an emerging artist, Compa has already received national attention in her native country of Argentina. In 2014, Compa was awarded 3rdPlace Art Category for Teapot National Bienal Misiones University and in 2015 a National Award, Ceramic Sculptures at the Exhibition at the distinguished Palais de Glace - National Palace of the Art, Buenos Aires. In 2017 her work was selected for the National Art Fund and the 58th International Art Content in Centro Argentino de Arte Ceramico. She started exhibiting with Jennifer Kostuik Gallery in 2019.
2002 – Architecture, Honours, Rosario National University, Argentina
2022 – 25th Anniversary Exhibition, Kostuik Gallery, Vancouver, BC
2021 – Summer Group Show, Kostuik Gallery, Vancouver, BC
2019 – Inner Vision, Kostuik Gallery, Vancouver, BC
2017 – National Art Fund, 58th International Art Content in Centro Argentino de Arte Ceramico
2015 – Palais de Glace National Award, Ceramic Sculptures, Buenos Aires, Argentina
2014 – Teapot National Bienal Misiones University, Art Category, 3rd Place
2017 Inner Vision – View