Cecilia Granara speaks four languages. Four hearts, therefore, like four kingdoms of emotion: that of the brain and reason, that of sex and desire, that of the stomach and digestion, and that of the chest and breathing. Together, they form the female body, its transitions, its pleasures, its pains, its wastes. «She» is pregnant, vomits, has her period, or lies in the yogi corpse pose, savasana. Everything is liquid in the paintings of Cecilia Granara. In her relationship to expression we find the idea of transformation and moulting.
Poetry and self-fiction serve as guides to the artist, who tells us in her paintings what makes us uncomfortable in the female body, claiming fluids as a possible magic potion to empty out, rehydrate, detox, liberate. What makes us tense? What relaxes us? What hurts us? What makes us feel better? Fascinated by the massive generalization of self-care philosophy, Cecilia Granara questions the state of emergency that brings together groups of (most often) women to gather in meditation. In search of a way to reappropriate themselves of their own bodies and of magic, they look for ecstasy through an experience of loneliness and sweat. We see them exhaling at night through the large windows of a building, recognize their gurus dressed in leggings and see their spell-books everywhere advocating personal development, anchoring, and rooting.
Cécilia Granara’s painting situates itself precisely where the body is confused, when it is alive, when it suffers, when it wakes up or falls asleep, when it topples over, when it responds, when it heals. In an ultra-colored interiority, treasures of sensation exult like a list of manyfold ingredients to reconnect to one’s own intimacy, as well as an affirmation of her social and political role and a redefinition of personal representation.
— Elisa Rigoulet