Covadonga Valdés Overcave
21 September 2020 – 19 December 2020
Covadonga Valdés Sobrecueva has a degree in Fine Arts from Chelsea College of Art in 1992 and a Master’s degree from Slade University, London in 1994. In 2012 she received the Abbey Fellowship in Painting from the British School in Rome.
He participated in artistic residencies as well as: The Ricklungarden Museum in Sweden, Azan Contemporary in Lisbon, Hickster Projects in Siena and the British School in Rome, Italy. Her individual exhibitions include: Turps Gallery, London. Bruno Alonso Foundation, Santander. Arancha Osoro Gallery, Asturias. House of Culture, Cangas de Onis, Asturias. Contemporary Art Projects, London. Cajastur Cultural Center. Pump House Gallery, London.
Valdés has exhibited internationally in group exhibitions. Among the most recent are: The Gray Gallery, London. The Copeland Galley, London. The Sluice Art Fair, Berlin. The Royal Academy of Arts, London. Standpoint Gallery, London. Turps Gallery, London. Cheng Center for Contemporary art, Beijing, China. Jerwood Space, London. APT Gallery, London. Art Britannia, Miami. Torrance Art Museum and Garboushian Gallery, California. Charlie Smith Gallery, London. The British School in Rome and Galleria Marabini, Bologna, Italy. John Moores Painting Prize, Liverpool Museums, England.
Project in residence
El Puente
This project is based on the sketches made by Valdés during the months of confinement in London. Which came to progress in landscapes that act as a revelation of the experiences related to his previous explorations in nature. They become an important visual diary in these moments of transition – articulations of pleasure, of difficulty. A visual reflection, as well as a new attempt to play with the different visual combinations that the outside world offers us.
The Bridge, a theme related to these apparent moments of global transition, appears as a prism that offers us a revealing and optimistic landscape. It becomes the subject that frames a second view within the context, introducing us to a second possibility that in turn is visually describable in the painting.
