Cecilia Flaten - Chile
About the artist
Member since the very beginning
Cecilia was born in La Reina (Santiago, Chile) in 1950, a key day that makes the beginning of transcendental changes in our country... the 4th of September. In the same way her passage though the world has been subject to changes and diverse variants of cyclical character, all of them linked to the most sublime manifestation of her spirit:
The Art.
At the age of two she begins to recreate in her own flesh the history of her mother, who was prima donna in the National Ballet of Santiago. Since she is four until she is twenty-seven years old, the dance comes to be in the core of her life and simultaneously she maintains sporadic romances with Painting, Theater and Literature.
Delighted with the stages, she explores all of their dimensions, starting from the back-stage, all through to the border-stage, arriving to direct plays in her school and being a moving body of expression within ICTUS company of actors.
Her artistic and humanist vein grows day by day, in contrast to the mathematics, forced hours of class she takes advantage to the maximum to explore the world of the painting. By that time she already was distinguished for being teacher of her classmates, condition that endured, arriving to be professor of many children and teenagers. Cecilia urges them to fight for their autonomy of criterion and expression, using creativity as the main weapon.
Within her evolution in the dance, she begins to notice its ephemeral character, and, deeply affected by the death of her paradigm and cult leader, Nureyev, she decides that the hour has arrived to untie herself from the world of the dance, at least partially. Closing this cycle, her spirit persists in the search of a more tangible art and retakes her flirt with the painting, coming it to be at the present day her great love. At the beginning of this engagement, things happened in a rather playful and innocent way, all which is completely demonstrated in her Naïf works, in which she experiences with techniques and colors that allude directly to her Scandinavian ancestors.
Entering into a more mature stage, she works the oil, instance that provides her the stability and the so much yearned pattern of expression, which allows her to be able to represent properly the legends, the myths and the dreams that nest in her mind and her blood.
Cecilia was born in La Reina (Santiago, Chile) in 1950, a key day that makes the beginning of transcendental changes in our country... the 4th of September. In the same way her passage though the world has been subject to changes and diverse variants of cyclical character, all of them linked to the most sublime manifestation of her spirit:
The Art.
At the age of two she begins to recreate in her own flesh the history of her mother, who was prima donna in the National Ballet of Santiago. Since she is four until she is twenty-seven years old, the dance comes to be in the core of her life and simultaneously she maintains sporadic romances with Painting, Theater and Literature.
Delighted with the stages, she explores all of their dimensions, starting from the back-stage, all through to the border-stage, arriving to direct plays in her school and being a moving body of expression within ICTUS company of actors.
Her artistic and humanist vein grows day by day, in contrast to the mathematics, forced hours of class she takes advantage to the maximum to explore the world of the painting. By that time she already was distinguished for being teacher of her classmates, condition that endured, arriving to be professor of many children and teenagers. Cecilia urges them to fight for their autonomy of criterion and expression, using creativity as the main weapon.
Within her evolution in the dance, she begins to notice its ephemeral character, and, deeply affected by the death of her paradigm and cult leader, Nureyev, she decides that the hour has arrived to untie herself from the world of the dance, at least partially. Closing this cycle, her spirit persists in the search of a more tangible art and retakes her flirt with the painting, coming it to be at the present day her great love. At the beginning of this engagement, things happened in a rather playful and innocent way, all which is completely demonstrated in her Naïf works, in which she experiences with techniques and colors that allude directly to her Scandinavian ancestors.
Entering into a more mature stage, she works the oil, instance that provides her the stability and the so much yearned pattern of expression, which allows her to be able to represent properly the legends, the myths and the dreams that nest in her mind and her blood.
Cecilia was born in La Reina (Santiago, Chile) in 1950, a key day that makes the beginning of transcendental changes in our country... the 4th of September. In the same way her passage though the world has been subject to changes and diverse variants of cyclical character, all of them linked to the most sublime manifestation of her spirit:
The Art.
At the age of two she begins to recreate in her own flesh the history of her mother, who was prima donna in the National Ballet of Santiago. Since she is four until she is twenty-seven years old, the dance comes to be in the core of her life and simultaneously she maintains sporadic romances with Painting, Theater and Literature.
Delighted with the stages, she explores all of their dimensions, starting from the back-stage, all through to the border-stage, arriving to direct plays in her school and being a moving body of expression within ICTUS company of actors.
Her artistic and humanist vein grows day by day, in contrast to the mathematics, forced hours of class she takes advantage to the maximum to explore the world of the painting. By that time she already was distinguished for being teacher of her classmates, condition that endured, arriving to be professor of many children and teenagers. Cecilia urges them to fight for their autonomy of criterion and expression, using creativity as the main weapon.
Within her evolution in the dance, she begins to notice its ephemeral character, and, deeply affected by the death of her paradigm and cult leader, Nureyev, she decides that the hour has arrived to untie herself from the world of the dance, at least partially. Closing this cycle, her spirit persists in the search of a more tangible art and retakes her flirt with the painting, coming it to be at the present day her great love. At the beginning of this engagement, things happened in a rather playful and innocent way, all which is completely demonstrated in her Naïf works, in which she experiences with techniques and colors that allude directly to her Scandinavian ancestors.
Entering into a more mature stage, she works the oil, instance that provides her the stability and the so much yearned pattern of expression, which allows her to be able to represent properly the legends, the myths and the dreams that nest in her mind and her blood.
Studies
(1991-1993) Self taught phase. Using a Naïf style, she creates almost 150 pieces, with an original technique using paint for cloth over canvas, where Scandinavian legends, myths, tales and fantasies are the main theme.
Between 1993 and 1996, she gets into oil with Alejandro Lizana, painter and president of the National Society of Fine Arts.
In 1994, she starts an intensive course with Master Eduardo Castillo and finishes her studies with the outstanding painter María Eugenia Reyes (1997-1998).
Trayectory
After developing her naïf for two years, in 1993 she became an active member of the "National Society of Fine Arts".
In 1995, she inaugurates her first individual exhibition. Until now, she has done many exhibitions and art related work.
Nowadays she develops the role of director of the "La Reina plastic artists association"
Main Exhibitions
» (1993) She exhibits in the halls of "Naïf paintings" and "Members paintings" of the National Society of Fine Arts.
» (1994) She participates in the "X Autumn Meeting" of the National Society of Fine Arts
» (1995) ) She attends the "National Meeting of the National Society of Fine Arts" and performs her first individual exhibition in the "La Reina Rotary Club" Hall
» (1996) She exhibits in the city of Viña del Mar in the "Mar Futuro" Hall. Show, organized by the Universidad del Mar and the Reñaca Cultural Center.
» (1997) She's invited for second year to attend the "Mar Futuro" Hall in Viña del Mar.
» (1998) She participates in the first and second exhibition of the "La Reina Plastic Artists" promoted by the La Reina Cultural Center. She ends the year developing another individual exhibition in the prestigious "Ebro Deontological Institute"
» (1999) She takes part of a collective exhibition in the "Cámara Chilena de la Construcción Cultural Corporation". She exhibits her work in the "Fabrics" Gallery, and then takes part of an event organized by the National Association of Cancer. She also makes a great exhibition in the prestigious hall "Marcos Bontá"
» (2000) She produces a cultural exhibition in Algarrobo, in the Cultural Center of this important beach resort.
» (2001) She inaugurates her own web site: www.flaten.cl called "Cuentos que me cuento" (Stories I tell myself)
» (2001) She exhibits all her work in the Viña del Mar Casino.
» (2001) December 1st, she promotes and produces the first Celt - Scandinavian encounter in the "Plaza de los Insurgentes" Café in Santiago, Chile.
Main Awards
» (1993) First honoring mention in the oil section of the "X Autumn Hall" of the National Society of Fine Arts.
» (1998) Best Assembling of the year Award. The award was given in the "Ebro Deontological Institute"
Her Painting are owned by..
» Private collections in France and in the U.S., including a selection of her Naïf paintings.
» La Reina Cultural Center Theater, panting donated by the artist.
