Catalina Chervin’s dedication to the expressive power of (mostly) abstract lines and forms (with an occasional incursion of color) forms a veritable legend within the art world. She has been a fixture in circles of admirers and collectors on three continents. Chervin’s training in the celebrated studio of Robert Blackburn in New York – and, earlier, in Argentina, her preparation at the Escuela Superior de Bellas Artes ‘Ernesto de la Cárcova’ in Buenos Aires – prepared her for an entry into the circles of advanced, experimental art in the many cities where she has had individual or group exhibitions in, among other cities, Buenos Aires, Cologne, Madrid, Mexico City and New York.Aires, Cologne, Madrid, Mexico City and New York.

Catalina Chervin’s art is not simply a concretization of memories. It is not “pleasant” in a conventional sense. It is necessary to observe, internalize and ruminate on her dense visual metaphors which inevitably reflect a state of mind that – for those observers willing to suspend their desire for concrete or obvious messaging – can be (either or both) disturbing or cathartic.

Catalina’s principal format has been drawing. Her works in charcoal on paper often strike us as shocking upon first view, but when observed in exhibitions where the spectator can contemplate the multiple (and sometimes contradictory) meanings of her images, they enter with increasing urgency into our consciousness.

Individual drawings (or paintings and sculptures – genres into which she has made important incursions in recent years) – are undoubtedly the vehicles for private meditation and reflection. However, few are the opportunities to observe the aesthetic productivity of this (or, in fact, any) artist. Catalina Chervin is fundamentally aware of the necessity to disseminate her artistic vision and her forceful aesthetic voice into the wider world. Thus, the art of the print is of essential significance for her. In print series, Catalina Chervin is able to offer a wider public the enviable opportunity to both observe and understand her messaging within the realms of abstraction. In the current exhibition we are deeply interested in suggesting the “universalist” significance of her compelling visual language. Catalina Chervin’s graphic vocabulary becomes, through the print medium, part of a larger patrimony of artistic consciousness on the part of her admiring public. This is the first time an exhibition of Chervin’s prints has been presented in New York. It is a landmark moment for this brilliant creator of a collective artistic sensibility.

New York - 2025