Carmen Groza is an artist who belongs to the abstract art movement. She rarely resorts to figurative art, even though realistic elements may appear here and there in her expressivity.
Darkened, shredded, assembled pieces of paper shape works fed from Hartung or Soulages’s tradition.
Spatial organisation of each work plays with the contrast between opacity and transparency, nocturnal shades and daylight. Frank flat tints combine with fugitive traces, spread stains. The texture of the superposed layers of paper catches light and glances in numerous manners.
Sometimes smoothness, oftentimes bends and wrinkles, tears and chips build a various whole. There comes a primitive and spontaneous side; such as a piece of wood burnt to ashes, plants tortured by blazes, the branches and roots of which appear as tough charcoal.
The final result is a sort of architecture at an equal distance between brute and thought, momentum and stillness.
In my works, I have used different techniques, mainly Haute-Lisse looms and collage.;
For me, tapestry probably fulfils two latent needs: the wall and the matter, then the way they fit with each other.;
In my projects, I try to elaborate a synthesis that incorporates pictorial and graphic elements, whilst still aspiring to work on wide surfaces, because some of the works that I create have large dimensions.;
In tapestry, I utilize what the European tradition has bequeathed to us while opening new paths of development. In the clash between tradition and its transgression, I glimpse an infinity of possibilities. The novel spirit can merge into ancient techniques.;
One can simultaneously live with their time and utilize a traditional technique.;
Collage, for me, is a novel graphic universe; it gives me a formal freedom of research that suits me well. For some of my tapestries, collage was oftentimes the starting point. Creation then continues in the interpretation that I realise by myself with Haute-Lisse looms.;