21bloom

Juliana Cerqueira Leite (1981) is a Brazilian artist based in New York, she is interested in the parameters of the body and the space that it creates; her large-scale, tactile sculptures investigate the abilities and constraints of the human body. “Creating new forms is a mission for me,” said Cerqueira Leite, “a way of not reasserting the world as it is, but of positing a transformation”. The artist’s sculptures testify to one’s ability to transmute the world around them. Using her own body as a primary tool, Cerqueira Leite digs, combs, scratches, and pushes through her materials —which include clay, latex and plaster— to create organic forms. Her sculptures retain impressions of the artist’s legs, arms and fingers and often resemble skin, bone and similarly corporeal matter. Explaining her use of materials, Cerqueira Leite has said: “One of the reasons I use so much density of material is that I want to upset the status quo: the idea that matter is consistently subservient to our desires. I want to put myself in a position where matter is in just as much control as I am”.

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Selected Works

jcl_climb_cass_2015_2

Climb

2012

Forton mg, Urethane foam

366 x 61 x 56 cm (144 332 x 24 132 x 22 116 inches)

jcl_orogenesis_2018_1-scaled

Anthropometry

2019

Aquaresin, aluminium, glass fiber, steel, pigment, clay

140 x 45 x 100 cm (55 18 x 17 2332 x 39 38 inches)

dsc_7097

Curl 2

2014

Plaster, fabric, fiberglass, steel

68 x 58 x 48 cm (26 2532 x 22 2732 x 18 2932 inches)

jcl_lustawarande_blind-spot_2015_5-scaled

Blind Spot 2

2015

Aquaresin, steel, aluminum, glass fiber, pigment

203.4 x 203.4 x 213.36 cm (80 332 x 80 332 x 84 inches)

jcl_orogenesis_2018_8-scaled

Calcify

2019

Aquaresin, hydrocal, steel, glass, limestone sand, glass fiber, pigment, clay

140 x 45 x 100 cm (55 18 x 17 2332 x 39 38 inches)

dsc_7845-scaled

“We don’t know what is happening because there is no leader...and it was very dangerous...they need a lot more help...he tried to hold his bow and then they shot him...and beat us...there is the possibility that someone will say you asked for it.”

2017

Acrystal Prima, steel, pigment, glass fiber

142 x 71 x 71 cm (55 2932 x 27 1516 x 27 1516 inches)

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Urn 9

2022

Dental plaster, fiber glass, aluminum, steel, pigment, glass base, live plants and organic substrate

90 x 90 x 50 cm (35 716 x 35 716 x 19 1116 inches)

dsc_7119-2

Contraction 1

2019

Plaster, steel and burlap

170 x 40 x 40 cm (66 1516 x 15 34 x 15 34 inches)

softbody3_web

SOFT BODY 3

2021

Dental plaster, glass fiber, aluminium, steel and pigment

189.5 x 65.5 x 30 cm (74 58 x 25 2532 x 11 1316 inches)

juliana-cerqueira-leiteon-shipless-ocean-2021-aquaresin-steel-aluminum-glass-fiber-pigment-clay-residue-48-x-36-x-24-inches

ON SHIPLESS OCEAN

2021

Aquaresin, steel, aluminium, glassfiber, pigment, clay residue

122 x 91.5 x 53 cm (48 132 x 36 132 x 20 78 inches)

dsc_4741-baja

Head 4

2020

Aquaresin, glass fiber, pigment

16 x 16 x 16 cm (6 516 x 6 516 x 6 516 inches)

juliana-cerqueira-leite-at-arsenal-contemporary-nyc-4

Urn 3

2018

Hydrocal, FGR-95, glass fiber, steel, burlap, clay, pigment

157.5 x 68.5 x 40.6 cm (62 x 26 3132 x 15 3132 inches)

jcl_amphorae_ct_2013_2

Amphorae

2013

dsc_8548

Spread

2021

Graphite and colored Luminance pencil on paper

83 x 63 x 16 cm (32 1116 x 24 1316 x 6 516 inches)

dsc_8562

Scrub A

2021

Graphite and colored Luminance pencil on paper

83 x 63 x 16 cm (32 1116 x 24 1316 x 6 516 inches)

Installation

jcl_orogenesis_2018_7

Orogenesi, 2019
National Archaeological Museum, Naples

jcl_orogenesis_2018_6

Orogenesi, 2019
National Archaeological Museum, Naples

jcl_climb_cass_2015_3

Sculpture In the City, 2018-2020
London

jcl_lustawarande_blind-spot_2015_4

, 2015
Lustwarande, Tilburg

jcl_dividual_2018_5

Dividual, 2018
Institute Tomie Ohtake, São Paulo

jcl_dividual_2018_4

Dividual, 2018
Institute Tomie Ohtake, São Paulo

Exhibitions

Estar a la lluna

Fonteta
Aug 07 - Sep 26, 2021

We’re delighted to present the second chapter of the joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard, taking place in Fonteta, a small village in the Empordà region from June to September.

The exhibition, conceived in two chapters, brings together artists from three different generations. The proposal begins with a concept from the Empordà Parar la fresca (to take in fresh air) described by Josep Pla in the book Las Horas (The Hours), 1953.

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The Swamp of Forever. Chapter 4: Origin

Madrid
Feb 06 - Apr 10, 2021

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Receive information on available works by Juliana Cerqueira Leite
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