Elda Cerrato: Transcend/Transport: Paintings, 1963 – 1976
  • Galerie Lelong, New York, is pleased to announce Transcend/Transport: Paintings 1963 - 1976, a solo exhibition by Elda Cerrato, marking...
    Elda Cerrato
    Transformación de la energía que ingresa en energía libre. (Serie Entes Extraños. Epopeya del Ser Beta) [Transformation of incoming energy into free energy. (Strange Beings Series. Epic of the Beta Being)], 1965-66
    Oil on canvas
    18 ⅛ x 14 ⅛ in (46 x 36 cm)
    Framed: 20 x 16 ⅛ x 2 in (50.8 x 41 x 5.1 cm)

    Galerie Lelong, New York, is pleased to announce Transcend/Transport: Paintings 1963 - 1976, a solo exhibition by Elda Cerrato, marking her first in New York.  Although celebrated across Latin America throughout her career, her singular contributions to global modernism have yet to be fully recognized internationally. Transcend/Transport: Paintings 1963 - 1976 presents paintings from a critical period in Cerrato's art and life, marked by her movement between Venezuela and Argentina, and the emergence of series and subjects that would define her enduring practice. Integrating academic, spiritual, and philosophical engagement into her paintings from this period, Cerrato illuminated a world marked by shifting borders, social precarity, and the search for higher consciousness.

    The exhibition begins in 1963, when Cerrato lived in Caracas, Venezuela in association with a group devoted to the study of the mystic George Gurdjieff. The earliest work in the exhibition is an untitled oil painting created in 1963 as part of the Serie Formas en Origen [Forms in Origin Series]. Gestural strokes of brown and maroon form a biomorphic composition that melds Cerrato's early studies in biochemistry with her investigation into invisible forces and energies in the universe. Following her return to Argentina in 1964, Cerrato's sustained engagement with Gurdjieff's "Fourth Way" and an extraterrestrial encounter inspired her "cosmovision" paintings and the development of her Serie Entes Extraños. Epopeya del Ser Beta [Strange Beings Series. Epic of the Beta Being]. In these works, Cerrato sought to depict invisible cosmological and spiritual forces within an organization of forms firmly grounded in geometry. She rendered these compositions in an ethereal yet muted palette of black, white, silver, and gold.

  • In the early 1970s, Cerrato's color palette evolved, becoming more vibrant. In Despolarización mutua de dos entes. (Serie Entes Extraños....
    Elda Cerrato
    Pasa lo mismo en el movimiento que en el mapa? [Does the same thing happen in movement as on the map?], 1976
    Acrylic on canvas
    14 ⅜ x 22 ¼ in (36.5 x 56.5 cm)
    Framed: 16 ½ x 23 ½ x 1 ¾ in (41.9 x 59.7 x 4.4 cm)

    In the early 1970s, Cerrato's color palette evolved, becoming more vibrant. In Despolarización mutua de dos entes. (Serie Entes Extraños. Epopeya del Ser Beta) [Mutual depolarization of two entities. (Strange Beings Series. Epic of the Beta Being)] (1970), a silver and gold depiction of the titular being is stark against an orange background. Represented in shapes reminiscent of her early biomorphic subjects—such as an oval, egg, eye, circle, and ovule—Cerrato's Beta Being was "a character from the nature of our world," a spiritual presence arriving on Earth in a time of political tension.

    This decade also saw the rise of what was to become one of Cerrato's most iconic bodies of work: her "Maps and Multitudes" paintings. Increasingly compelled to address the fraught political environment around her, and leaning into the pop-adjacent sensibilities of her bright palette, Cerrato honored ordinary people and protestors by incorporating their likenesses in her paintings. Images of agricultural vistas, expanding cities, laborers, and students appear alongside maps of the Americas. Cerrato organized these compositions using geometric forms reminiscent of those that first appear in her 1960s works. Combining the urgent message of the people with her personal explorations into spirituality and philosophy, Cerrato refined a unique visual language that presented biomorphic abstraction and stylized figuration as an interface for both inner and collective resistance.

  • Select Works

  • Related Artist

Back to exhibitions