Press and Acclaim

Acclaim

Arveil_PortraitStudio_Charlestown_2009_2

  • Paulo Cunha Alves, Consul General of Portugal in Boston, July 2009
    “I met Christine Arveil on a rainy June morning, when the summer still shied away from Boston. New to the city, I found in this meeting an occasion to speak the language of Molière, and converse with someone whose message I needed neither dictionaries nor codes to decipher. The Volcano Project is something more than an ensemble of pictures characterized by their brightness and color, by the enigmatic world created that only the soul can understand, beyond rational thinking, and shelter until its supreme conquest or complete surrender. This work is the result of the artist’s conquest of the imaginary that involves the Atlantic islands of the Azores, its people and traditions. It is the fruit of her passion for life, the flame that brings light, and the lava that rejuvenates the land. Each time the earth shakes, it gives birth to another stage. The mask of time falls and the artist’s personality reveals itself, enigmatic, peaceful, pulsing, just like her works of art now exhibited at the Academia das Artes in Ponta Delgada, Azores. Bravo Christine!”
  • Carmo Redeia, Açoriano Oriental, “O movimento silencioso do vulcão e a arte”, Sào Miguel, Azores, 11 September 2009 [download article]
  • Nick Shave, The Strad, “Double Acts”, London, October 2007, Vol. 118 No 1410, p. 112
    “Christine Arveil – Benoit Rolland. An artist and a bow maker reveal a shared love of sculpture, silence and the sea…. Benoit is always searching for silence and I’m in search of intense colours and feelings, so the desert suited us both…. Besides being a painter, Christine has written a novel and around 50 short stories. She’s knowledgeable not only about 18th-century varnishing techniques, but also about many painting techniques.” [download article]
  • Alicia Faxon, Arts New England, “Christine Arveil: Weight of light”, June-July 2005, Vol. 26, Issue 4, p. 35
    “As Walter Pater said, “All art aspires to the condition of music,“ and Christine Arveil’s paintings exemplifies this idea. She combines violin varnishes and pigments on wood to create haunting, expressive works, mainly abstract in organization, suggestive of themes and unheard melodies…. In an abstract work such as Fate (2003) the artist captures a sense of dramatic movement, almost a crescendo or menacing leitmotiv. Some of the figurations are more benign, as in a figure with open arms in I’ll Be There For You, but generally the tone is darker, as in the elements of The Price of Freedom. In this work the blood-red swirling mass seems to mirror warfare, wounds, and death.” [download article]
  • Jim Sullivan, The Boston Globe, Go! Wednesday, “Enjoyment of art”, January 26, 2005
    “I don’t know about art, but I know what I like,” the Cramps’ Lux Interior once proudly sang. That’s more or less Go!’s position on fine art. We’re no experts, but we can point you to something we think you’ll like. It’s an exhibit called “Weight of Light” by French born abstract painter Christine Arveil…. Arveil, who now lives in these parts, opened her first studio in Paris in 1984. Back then she was struck by the art of varnish and how it is integral to the creation of classical violins…. But technique is not the point. The interiority of her painting is such that each one seems to have a moral life of its own. Music, truly, is connected to Arveil’s art. “It’s one of the things I try to translate into painting,” she says. “Can we possibly visualize a complex prime emotion before it fits itself into a definite medium?” Renowned cellist Lynn Harrell wrote of Arveil’s work that it was “a revelation of subtlety, color and translucence — magnificent and breathtaking.”
  • Pieranna Cavalchini, “Conversation at the Studio”, Exhibition brochure for Weight of Light, Pub. Regis College, January 2005
    “It is also part of the work that – however you look at it, in different lights or in different directions – it will shift. It stays alive. The color shifts…. It is like a stone shining. I know what a painting conservator would say about such strong light. You’re not going to find yourself in the same situation as many contemporary artists, with collectors calling you to ask if you can restore the work because the paint shifted or faded. So much contemporary work is ephemeral. Your works are going to stay the way they are for a long time.”
  • Thierry Vankerk-Hoven, Consul General of France in Boston, Introduction to the Exhibition brochure, Weight of Light, January 2005, Pub. Regis College
    Painter of movement, Christine Arveil brings a new dimension to contemporary painting. Infused with Eastern traditions, she has succeeded through her dazzling mastery of varnishing techniques in creating inimitable compositions that wondrously reflect the secret world of passions and sentiments. The shimmering colors and the continual change of tones that vary according to the ambient light make Christine Arveil’s works moving paintings of a remarkable beauty and depth.
  • Jennifer Lord, Arts Entertainment, The Daily News, “Opalescent art”, January 23, 2005
    “The images in Christine Arveil’s artwork float just beneath the surface, changing with the light or the position of the viewer… Arveil takes pride in using found objects for many of her pieces. In the center of the room, for example, is a log that naturally split in two. Fascinated with the natural puzzle, Arveil painted a vein of varnish spiked with gold… “I love the contradiction of using precious materials, this gold, over something that would be discarded otherwise”…. I think it’s so disappointing to have a painting,” Arveil said. “You hang it on the wall, you’re stuck with it for years. I wanted to make something that would change, that would keep surprising you.” [download article]

 Filmed reviews

Pic_ARTilhariaTV

  • Acores VIP-TV, M.GIL & Oliveira LDA, September 20, 2009
  • “Exposição VOLCANO PROJECT de Christine Arveil”RTP-TV, Reportagem de Laura Lobão, Telejornal, October 6, 2009,
  • “Volcano Project” ARTilharia TV, Mario, October 2009

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Review articles and blogs

  • Melissa Costa, O Jornal, Boston, USA, 4 June 2010,“Exhibit inspired by S. Miguel island on display at the Mass. State House”
  • Massachusetts Cultural Council Blog Artsake, “Christine Arveil’s Ilha Ardente ember Island”
  • Carmo Redeia, Açoriano Oriental, Sào Miguel, Azores, 11 September 2009, “O movimento silencioso do vulcão e a arte”
  • Brochure-Catalogue of the exhibition Volcano Project, publication Academia das Artes, 2009
  • Nick Shave, The Strad, London, October, 2007, p. 112 : “Double Acts”
  • Alicia Faxon, Art New England, June-July 2005, p. 35: “Christine Arveil – Weight of light”
  • Jim Sullivan, The Boston Globe, January 26, 2005, p. D3 (article and photo): “Enjoyment of Art”
  • Jennifer Lord, The Daily News – Arts Entertainment, January 23, 2005: “Opalescent art”
  • The Town Crier, January 27, 2005, p.1: “French painter enjoys recycling materials” (different article)
  • Brochure-Catalog of the exhibition Weight of Light, publication Regis College, 2005: Rosemary Noon, Curator and Editor
  • Pierrana Cavalchini, Curator of Contemporary Art, Isabella Stewart Gardner Museum, Boston: Artist’s interview, David
  • Walter, Elatia Harris, Sharon Que, Keith Hill: Contributors
  • Tasmin Little, BBC Radio, London, England, December 9, 1999: Arveil’s interview for the Stradivari program
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