These are some of my favorite pieces from Rosetta’s recent works. Rosetta DeBerardinis is one of the U.S. artists Women in the Arts recognized at last year’s “Celebrating the Genius of Women” competition at the Orlando Public Library.
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DeBerardinis “Chelsea” Collage 8 x 11 in.
"I find comfort creating images nestled between tall steel girders, perhaps because I am a New Yorker. Standing beneath high skyscrapers and towering man-made mountains does not make me feel small; I am empowered by their size. Architectural enclosures that envelope me, render safety, protection and inclusion.
I often find expansive metal exteriors more comforting than lined decorative interiors. Open vast landscapes, although I can appreciate the beauty and sense of freedom, sometimes leaves me feeling vulnerable, exposed and permeable; like a bridge without guard rails or a yoke out of its shell."
DeBerardinis. "Eyes on the Prize" Watercolor 22 x 30 in.
“I am a visual artist. I create abstract paintings ranging in size up to 9 feet. My work is immediate and direct. The artistic content of this work is reliant upon the recordation of the abstract movement in America during the 1940s, when artist Jackson Pollock and his contemporaries made their mark on art history. These paintings are not copies. They are original works created in response to my continuous academic study of the masters within the cannons of abstraction and art. I am merely a conduit for the pigment and unable to walk away from its urgency and immediacy requiring my complete attention. Like Pollock, I prefer the floor to the easel, although I use both. It is a dance between me and the surface hearing only its music which compels me to create what never existed before. I add multiple layers using a brush, spoon, turkey basters, throwing, dripping, or swirling paint with my gloved hand. I continue to add layer upon layer until the canvas speaks to me, signaling my dismissal because the work is done. These paintings exhibit the varied dialogue within the cannons of abstraction through gesture, geometric form, expressionism, action, Color Field and the Washington Color School. A creative execution driven by both process and technique. My work is about formation, materials, color, energy, expression, texture, freedom, experimentation and passion. The work is process driven incorporating mediums and materials such as salt, bleach, beeswax, glass beads, pastels, pumice gels, enamel, tempera and colored pigments to add texture, expand and enhance the substrate. I begin without an agenda. It is my goal to take a blank surface and successfully convert it into a dialogue or formal discussion. It is the viewer’s engagement, response and interpretation that gives the work meaning. And, each viewer’s perception is correct, there is no wrong response. There is no representational narrative. I aim to achieve subtle reactions and to evoke some emotional or visual response. The viewer is not expected to see what I see, but to use the work as a source for their individual perceptions based upon personal filters; be it the heart, soul, brain or the eye. Each painting requires layering and interlocking materials. The work begins and ends with a performance. There is no sound in the studio. The creative process writes the tempo and it’s the only beat. I watch the pigment spread, drip, and meld, expand and shrink, then merge and part again, repeating itself, forever changing, until dry. The final product represents my goal as an artist to produce work of artistic excellence within the cannon of abstraction.”
About the Artist
“Rosetta DeBerardinis is a visual artist with a full-time studio practice a few steps from the nation’s Capitol in Washington, D.C. This native New Yorker creates an oeuvre of abstract paintings ranging up to 9 feet, urban drawings of architectural rendering abutting each other and three-dimensional works incorporating recycled materials.
Her work has been exhibited nationally and internationally in museums, commercial galleries and art venues and included in both public and private collections. The Corcoran Gallery of Art; Hampton University Museum; The Dallas Women’s Museum; Croatia’s City Museum of Varazdin; Museum of Latin-American Art; Noyes Museum; The African-American Museum of Dallas; and the Islip Museum are amongst the institutions who have presented her work. She is included in permanent collections at: PNC Bank; Siena Art Institute; Black Mountain College Museum; Modesta Museum; Verizon Center; Judith A. Hoffberg Archive; Maryville University; Historic Park Towne Place; Chiang-Kai International Airport; Marriott Marquis Hotel and more.
DeBerardinis has been granted awards by the District of Columbia Commission on the Arts and Humanities and Liquitex, a manufacturer of professional art materials. Several periodicals and online publications including The Guardian, The Washington Post, Richmond-Times Dispatch and the books 100 Artists of Washington, D.C and The One Word Project have featured both the artist and/or her work.
She is a graduate of Vassar College and holds advanced degrees from the University of the District of Columbia and the University of Baltimore School of Law and studied at the London School for Social Research, Rice University and the Fashion Institute of Technology. Beyond the easel, DeBerardinis was an editor and writer with numerous bylines in both print and electronic media; a former competitive fencer who trained with the U.S. Olympic team; playwright and a corporate attorney who clerked for both the Chairman to the Council for the District of Columbia and the General Counsel to the United States Copyright Office, prior to making a complete commitment to the pursuit of her evolving artistic passion in 1998.”
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This event is sponsored by Women in the Arts, corporate and private donors, Studio-T Photography, and Baterbys Art Gallery, in partnership with the Orlando Public Library.