Marta Penter

“What do I shoot? Silence itself. Or, in other words, in the midst of all the turmoil lies silence. That is what I encounter, that is what I photograph, that is what I paint. Because people may be there, all of them occupying the same place, but each one of them is within his or her own private and silent universe.”

Biography

Marta Penter’s latest work is a series of mid-sized paintings with larger-than-life impact, in which well-groomed, perfectly youthful bodies are bathed in antiseptic splendor. A regal power radiates from the unapproachable beauty of these perfect women in their perfect swimsuits, though they seem to rule over a void. The vacuum of blank space in the lower half of the canvases evokes an ambiguous domain from which these deodorized and depilated beauties have somehow emerged, all of them held together by the monotonous gestures (sociologist Pierre Bourdieu would call it “habitus”) of contemporary hedonism. There they are, bodies from the most diverse regions of the globe, from Brazil to Vietnam, hovering in space, floating on pink or apple green inflatable pool toys, immersed in leisure of metaphysical proportions. Certain details suggest that the setting is a pool at some resort by the sea, everything exuding the atmosphere of constant and compulsory self-representation as transmitted by Facebook, Instagram, and other platforms that beam out images of sublime delight.

Then, suddenly, the sequence of paintings jumps off the rails. In this Olympus of narcissism, in this paradise of inert half-goddesses anaesthetized by overwhelming leisure, Penter refocuses our eye on something more essential in life and art. Two large canvases in subtle grey shades dissolve the previous scenario into abstract forms: the air mattresses become sculptural shapes, volumes transposed into the two-dimensionality of the canvas, emitting mysterious energy. A tense hand hints at the contorted face and body of the person breathing life into the inflatable form; a glimpse of leg suggests some agent behind the abstraction. But even beyond what Penter makes visible, everything we don’t see about these bodies is engaged in a Herculean effort to animate the flaccid, gelatinous indeterminacy of those shapes which grow in our eye and mind. As this drama emerges, the figurative painting disappears; human subjects recede and give way to abstraction and reflection. Away from the glorious resting bodies, there is room to contemplate something more sober and demanding. We enter a dimension that is difficult to name: art in its purity and abstraction, maybe? Or is it the spiritual energy of some immense effort, of the struggle to convey form, to obtain volume and depth and multi-layered texture? It is as if Penter’s passion makes itself present and tangible in these canvases—as if they represent the artist in absentia.

The dry humor in this sequence of images reminds me of the funny lyrics of a song by the Brazilian poet and lyricist Vinicius de Moraes: “Para viver um grande amor, tem que ter peito – peito de remador!” To live a great love, you just need lungs – the lungs of an oarsman!
Marta Penter definitely has the necessary lungs.

Kathrin Rosenfield was born in Austria and has lived in Brazil since 1984. She holds a BA in languages from the Université of Paris III (Sorbonne-Nouvelle), an MA in historic anthropology from École des Hautes Études en Sciences Sociales, and a PhD in literature science from the University of Salzburg. A CNPQ researcher, she teaches in the Languages and Philosophy post-grad program at the Federal University of Rio Grande do Sul.

Works in Museum Collections

2010 No Title, drawing on Arches paper, 150x78cm, Donated by  Marta Penter, Museum of Contemporary Art of Rio Grande do Sul.

2009 IN Suspenso, graphite and bic pen on paper, 40x30cm,  Donated by André Venzon, Museum of Contemporary Art of  Rio Grande do Sul.


Selected Solo Exhibitions

2018 Floating Time, Caldwell Snyder Gallery, St. Helena, CA.

2016  Caldwell Snyder Gallery, St. Helena, CA.

2016 Among Silence, Caldwell Snyder Gallery, San Francisco, CA.

2015 Entre Silencios, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil.

2013 Caldwell Snyder Gallery, San Francisco, CA.

2011 Campton Gallery, New York, NY.

2010 Caldwell Snyder Gallery, San Francisco, CA.

2009  IN Suspenso, Studio Clio Instituto de Arte e Humanismo, Porto Alegre, Brazil.

2008 Intimidade Compartilhada, Bolsa de Arte, Porto Alegre, Brazil.

2007 Ao Pe do Olhar, Aquarelas, Galeria João Lagoa, Porto Alegre, Portugal.

2004 Cruzamento de Tempoos, Bolsa de Arte, Porto Alegre, Brazil.

2002 Memorias, Bolsa de Arte, Porto Algre, Brazil.

1995 Aquarelas, The King Hooper Mansion Gallery, Marblehead,MA.

1994 Viajando Por Si Mesmo, Galeria de Arte Mosaico, Porto Alegre, Brazil.

1992 Aquarelas, Galeria dos Arcos, Porto Alegre, Brazil.


Selected Group Exhibitions

2019 Art Market San Francisco, Caldwell Snyder Gallery

            SCOPE Miami, Caldwell Snyder Gallery

2018 35th Anniversary Show, Caldwell Snyder Gallery, San Francisco

2018 Art Market Hamptons, Caldwell Snyder Gallery, NY, NY

2017 10 Year Anniversary Show, St. Helena, CA.

2016 Context Miami, Caldwell Snyder Gallery, Miami, FL.

            Context NY, Caldwell Snyder Gallery, New York, NY.

            Art Market SF, Caldwell Snyder Gallery, San Francisco, CA.

            Hyperrealism. Clayarch Gimhae Museum, Gimhae, South Korea

2015 21c Hyperrealism: Breathing, Daejeon Museum of Art,  Daejeon, South Korea.

Hyperrealism: To See, To Show and To Be Seen, Suwon  Ipark Museum of Art - SIMA, Suwon, South Korea.

            Art Market SF, Caldwell Snyder Gallery, San Francisco, CA.

2014 Miami Context, Caldwell Snyder Gallery, Miami, FL.

            PS Art Fair, Caldwell Snyder Gallery, Palm Springs, CA.

            Art Southampton, Caldwell Snyder Gallery, Southampton, NY

            Constructive Voluptiousness - Drawing Pleasure and

            Planning in the MAC-RS Collection, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil.

            Útero, museu e domesticidade: gerações do feminino na  arte, Museu de Arte do Rio Grande do Sul, Porto Alegre, Brazil.

            30 x 30, Caldwell Snyder Gallery, San Francisco, CA.

2012 Art Hamptons, Caldwell Snyder Gallery, Bridgehampton, NY.

2010 SF Fine Art Fair, Caldwell Snyder Gallery, San Francisco, CA.

            Rendez-vous avec une femme. Ed II., Galerie Adler, Paris, France.

2009 Miami Context, Caldwell Snyder Gallery, Miami, FL.

2008 Aquarela Internacional, Pinacoteca de Sao Caetano do Sul, Sao Paulo, Brazil.

2007 Selecoes da Arte Contemporanea Brasileira, Rio de Janerio, Brazil.

2005 Tres Artistas Contemporaneos, Fundacao Cultural ECARTA.

Press

PRESS

Selected Artworks

Blow-Up X

Blow-Up X

Framed Photograph

24 x 24 inches

180532

Blow-Up IX

Blow-Up IX

Framed Photograph

24 x 24 inches

180531

Blow-Up V

Blow-Up V

Framed Photograph

24 x 24 inches

180527

Orange Hug | SOLD

Orange Hug | SOLD

Oil on Canvas

47 x 70 inches

180473

Green Apple Float | SOLD

Green Apple Float | SOLD

Oil on Canvas

62 x 62 inches

180471

Emptying the Float | SOLD

Emptying the Float | SOLD

Oil on Canvas

62 x 62 inches

180467

Tres Olhares em Viena | SOLD

Tres Olhares em Viena | SOLD

Oil on Canvas

55 x 83 inches

160039

Works in Museum Collections

2010 No Title, drawing on Arches paper, 150x78cm, Donated by  Marta Penter, Museum of Contemporary Art of Rio Grande do Sul.

2009 IN Suspenso, graphite and bic pen on paper, 40x30cm,  Donated by André Venzon, Museum of Contemporary Art of  Rio Grande do Sul.


Selected Solo Exhibitions

2018 Floating Time, Caldwell Snyder Gallery, St. Helena, CA.

2016  Caldwell Snyder Gallery, St. Helena, CA.

2016 Among Silence, Caldwell Snyder Gallery, San Francisco, CA.

2015 Entre Silencios, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil.

2013 Caldwell Snyder Gallery, San Francisco, CA.

2011 Campton Gallery, New York, NY.

2010 Caldwell Snyder Gallery, San Francisco, CA.

2009  IN Suspenso, Studio Clio Instituto de Arte e Humanismo, Porto Alegre, Brazil.

2008 Intimidade Compartilhada, Bolsa de Arte, Porto Alegre, Brazil.

2007 Ao Pe do Olhar, Aquarelas, Galeria João Lagoa, Porto Alegre, Portugal.

2004 Cruzamento de Tempoos, Bolsa de Arte, Porto Alegre, Brazil.

2002 Memorias, Bolsa de Arte, Porto Algre, Brazil.

1995 Aquarelas, The King Hooper Mansion Gallery, Marblehead,MA.

1994 Viajando Por Si Mesmo, Galeria de Arte Mosaico, Porto Alegre, Brazil.

1992 Aquarelas, Galeria dos Arcos, Porto Alegre, Brazil.


Selected Group Exhibitions

2019 Art Market San Francisco, Caldwell Snyder Gallery

            SCOPE Miami, Caldwell Snyder Gallery

2018 35th Anniversary Show, Caldwell Snyder Gallery, San Francisco

2018 Art Market Hamptons, Caldwell Snyder Gallery, NY, NY

2017 10 Year Anniversary Show, St. Helena, CA.

2016 Context Miami, Caldwell Snyder Gallery, Miami, FL.

            Context NY, Caldwell Snyder Gallery, New York, NY.

            Art Market SF, Caldwell Snyder Gallery, San Francisco, CA.

            Hyperrealism. Clayarch Gimhae Museum, Gimhae, South Korea

2015 21c Hyperrealism: Breathing, Daejeon Museum of Art,  Daejeon, South Korea.

Hyperrealism: To See, To Show and To Be Seen, Suwon  Ipark Museum of Art - SIMA, Suwon, South Korea.

            Art Market SF, Caldwell Snyder Gallery, San Francisco, CA.

2014 Miami Context, Caldwell Snyder Gallery, Miami, FL.

            PS Art Fair, Caldwell Snyder Gallery, Palm Springs, CA.

            Art Southampton, Caldwell Snyder Gallery, Southampton, NY

            Constructive Voluptiousness - Drawing Pleasure and

            Planning in the MAC-RS Collection, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil.

            Útero, museu e domesticidade: gerações do feminino na  arte, Museu de Arte do Rio Grande do Sul, Porto Alegre, Brazil.

            30 x 30, Caldwell Snyder Gallery, San Francisco, CA.

2012 Art Hamptons, Caldwell Snyder Gallery, Bridgehampton, NY.

2010 SF Fine Art Fair, Caldwell Snyder Gallery, San Francisco, CA.

            Rendez-vous avec une femme. Ed II., Galerie Adler, Paris, France.

2009 Miami Context, Caldwell Snyder Gallery, Miami, FL.

2008 Aquarela Internacional, Pinacoteca de Sao Caetano do Sul, Sao Paulo, Brazil.

2007 Selecoes da Arte Contemporanea Brasileira, Rio de Janerio, Brazil.

2005 Tres Artistas Contemporaneos, Fundacao Cultural ECARTA.

Biography

Marta Penter’s latest work is a series of mid-sized paintings with larger-than-life impact, in which well-groomed, perfectly youthful bodies are bathed in antiseptic splendor. A regal power radiates from the unapproachable beauty of these perfect women in their perfect swimsuits, though they seem to rule over a void. The vacuum of blank space in the lower half of the canvases evokes an ambiguous domain from which these deodorized and depilated beauties have somehow emerged, all of them held together by the monotonous gestures (sociologist Pierre Bourdieu would call it “habitus”) of contemporary hedonism. There they are, bodies from the most diverse regions of the globe, from Brazil to Vietnam, hovering in space, floating on pink or apple green inflatable pool toys, immersed in leisure of metaphysical proportions. Certain details suggest that the setting is a pool at some resort by the sea, everything exuding the atmosphere of constant and compulsory self-representation as transmitted by Facebook, Instagram, and other platforms that beam out images of sublime delight.

Then, suddenly, the sequence of paintings jumps off the rails. In this Olympus of narcissism, in this paradise of inert half-goddesses anaesthetized by overwhelming leisure, Penter refocuses our eye on something more essential in life and art. Two large canvases in subtle grey shades dissolve the previous scenario into abstract forms: the air mattresses become sculptural shapes, volumes transposed into the two-dimensionality of the canvas, emitting mysterious energy. A tense hand hints at the contorted face and body of the person breathing life into the inflatable form; a glimpse of leg suggests some agent behind the abstraction. But even beyond what Penter makes visible, everything we don’t see about these bodies is engaged in a Herculean effort to animate the flaccid, gelatinous indeterminacy of those shapes which grow in our eye and mind. As this drama emerges, the figurative painting disappears; human subjects recede and give way to abstraction and reflection. Away from the glorious resting bodies, there is room to contemplate something more sober and demanding. We enter a dimension that is difficult to name: art in its purity and abstraction, maybe? Or is it the spiritual energy of some immense effort, of the struggle to convey form, to obtain volume and depth and multi-layered texture? It is as if Penter’s passion makes itself present and tangible in these canvases—as if they represent the artist in absentia.

The dry humor in this sequence of images reminds me of the funny lyrics of a song by the Brazilian poet and lyricist Vinicius de Moraes: “Para viver um grande amor, tem que ter peito – peito de remador!” To live a great love, you just need lungs – the lungs of an oarsman!
Marta Penter definitely has the necessary lungs.

Kathrin Rosenfield was born in Austria and has lived in Brazil since 1984. She holds a BA in languages from the Université of Paris III (Sorbonne-Nouvelle), an MA in historic anthropology from École des Hautes Études en Sciences Sociales, and a PhD in literature science from the University of Salzburg. A CNPQ researcher, she teaches in the Languages and Philosophy post-grad program at the Federal University of Rio Grande do Sul.

Press

Marta Penter

“What do I shoot? Silence itself. Or, in other words, in the midst of all the turmoil lies silence. That is what I encounter, that is what I photograph, that is what I paint. Because people may be there, all of them occupying the same place, but each one of them is within his or her own private and silent universe.”

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Sunday, 11am - 5pm

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