Wwater landscapes. From the real to the dreamed of

With around forty of her recent works, the South American-bornartist from Geneva explores the theme of water in all its forms. Her'showcases of curiosities', containing notes, sketches and objects she has collected and removed from her everyday world, evoke a resonance between tangible memories and creativity.

The artist abolishes the boundaries between sky and sea. In the blue, the clouds mingle with the waves, leaving the viewer uncertain as to where one begins and the other ends. This indeterminacy is a metaphor for life itself: a never-ending journey where we navigate between tranquillity and storm.

Cécilia's aquatic world moves, vibrates, propels sounds, repetitive music and a dancing light conducive to daydreaming. Does her imagination, as subtle as it is effervescent, lead her to adhere, like all creators, to the obvious proposition "I am what I see"?

Cécilia Maurice de Silva delivers a personal, metaphorical and sensual representation of the world. Her works, which oscillate between the sky and the ocean, invite us to meditate on our existence and our connection to this vital element.

Cecilia has alwaysdrawn, painted, photographed and collected . After growing up in Paris, she attended art school in Geneva in the early 1970s, dividing her time between her work as an interior designer, as an art historian trained at the University of Geneva in the 1990s, and as an active campaigner for the preservation of our region's architectural and landscape heritage. Today she devotes herself to her passion for painting.

Cecilia loves blue. From the shores of the Pacific to those of Lake Geneva, from the roaring waves of the ocean to the crystalline splashes of our fountains, from the liquid, moving, transparent expanses of land to the chaotic, fleeting celestial majesty of the clouds that conjure up dreams, from the depths to the clouds, she is fascinated by the landscapes of water.

While she draws her emotions from wandering through nature and taking notes, it's in the studio that she transcribes her ephemeral impressions afterwards. She doesn't describe identifiable places, but draws details from reality and deliberately abstracts from literal narration to evoke her inner landscapes freely, sometimes in sequences, as if in a dream.