Cordova-negra

©2009-2010 Cristina Córdova

I began this post a year ago and never published it because I continue to feel that there is still some yet unexpressed aspect of Córdova’s work that I had not adequately described. Her ceramic images evoke in me the Phaedrus, in which Plato described the fall of the soul. They also evoke the River Styx, which for the Greeks formed the barrier between Earth and the Underworld. Her forms arise from that same psycho-emotional space from which our mythologies emanate. A space where only metaphors have meaning and geometric forms arouse our proto-memories to something distant and yet familiar.

©2009-2010 Cristina Córdova

Others have described her work as “Primitive Latin American” and perhaps it is.  However, it is my opinion that her work is not specifically Latin; in my estimation its true power, much like all of the Great Myths, is in it’s universality. Her figures appear much as we may at times perceive ourselves; disconnected, disheartened and distracted by the weight of all that binds our souls.

©2009-2010 Cristina Córdova


©2009-2010 Cristina Córdova

Córdova was a dancer for 15 years and has expressed the impact of dance on her work. She effectively brings a sense of physicality to the presentation of  her art, utilizing geometry, motion and body language to enable a kind of sign language of the soul that speaks without words.

Cristina Córdovais a studio artist living in Penland,NC. Originally from Puerto Rico, she received her BA from the University of Puerto Rico in Mayaguez and went to earn her MFA from the New York State College of Ceramics at Alfred University. In 2005 she concluded a three year residency at Penland School of Crafts in North Carolina. She was the recipient of an American Craft Council Emerging Artist Grant as well as a North Carolina Arts Council Fellowship Award. She has taught workshops in Puerto Rico and the US.

Cristina Córdova

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