Caterina Rossato

Forever in a Moment
15.7″x15.7″; digital collage; 2018
Love stories never end or end forever. I put together all the images taken during a sentimental relationship in a single collage: in this eternal present time does not exist and everything can be or not be at the same time. The “forever” switches from reality to the artwork.

Caterina Rossato
Bassano del Grappa, Italy


My collages arise from the need to sublimate, in a single image, a period of time or a geographical space that can not be captured with a single shot or a single point of view: a sentimental relationship, a trip, a day, all the landscapes I’ve seen, all the photos I’ve taken and even the ones I’ve lost and I can find elsewhere. Borders and points of view become one single unit that has no space-time connection to reality: which stands in front of us actually lies behind, what looks downstream is up, frontal views are complemented with side and aerial panoramas. There is no longer any distance, everything is here and now, always possible.


Caterina Rossato lives and works between Bassano del Grappa, Milano and the Val Senales’ mountains.

While she studied piano at the Music Academy in Como and Castelfranco Veneto, in 2006, she graduated in theory and practice of contemporary artistic languages at the Carrara Academy of Fine Arts in Bergamo and, in 2010, she obtained the Master’s Degree in Design and Production of Visual Arts at the I.U.A.V. University of Venice, where, in 2015, she also obtained the second level Master’s degree in Interactive Arts, for Architecture, Performing and Visual Arts.

She participated in artist residency programs with Luca Vitone (2009) and Benjamin Weil (2010) at the Fondazione Spinola Banna per l’Arte in Poirino, and, in 2010, she was resident artist for one year at the Fondazione Bevilacqua La Masa in Venice. Her work has recently been shown in group exhibitions including: “Differences and Repetitions” at Foothold in Polignano a Mare (curated by Like a Little Disaster, 2016); “Hotel universo nella notte transluminosa” at Palazzo Michiel in Venice (curated by Valentina Lacinio, 2015); “Un’idea brillante” at Frise Künstlerhaus in Hamburg, Germany (curated by Francesco Urbano Ragazzi, 2014); “Padiglione Crepaccio” at, Ca’ Soranzo in Venice (curated by Caroline Corbetta on the occasion of the 55th International Art Exhibition, Venice Biennale, 2013); “Helicotrema” at MACRO in Rome (curated by Blauer Hase, 2013); “BYTS ‘s-HERTOGENBOSCH” at Stedelijk Museum in ‘s-Hertogenbosch, The Netherlands (curated by Monique Verhulst, 2011).

She worked as an assistant for artists such as Pascale Marthine Tayou (Venice, 2009), Nan Goldin (Venice, 2010) and Quayola (London, 2014). Since 2011, she has been the teaching assistant of Alberto Garutti at the Laboratory of Visual Arts at I.U.A.V. University in Venice.

Her artistic research is aimed at the genesis of images and their combination through analogue and digital techniques. In her recent works, she uses new media technologies, interactive software and CNC milling machines, to create pictures and sculptures in which different planes of reality and perception are overlapping and intersecting.


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Remapping Landscape/Pal Piccolo 1886 m
31.5″x31.5″; digital collage and lightbox; 2016
It’s a collage made up of hundreds of photographs shot from every possible street, way and path leading to the peak of Mt. Pal Piccolo. Borders and points of view become one single unit that has no space-time connection to reality: which stands in front of us actually lies behind, what looks downstream is up, Austrian and Italian territory appear as one, and frontal views are complemented with side and aerial panoramas.

In an effort of trying to synthetize the complexity of the landscape, this luminous panel brings into play recognition/disorientation and familiarity/strangeness dynamics. The look is freed from the necessity of recognizing what is on one side or the other and of identifying a border and thus, in its willingness to go further, to drift away and as far as the eye can see, it proves that the only real limit is that of the visible.

A Possible Art World
15.7″x15.7″; digital collage; 2018
This project started with “The Art World”, the five contributions I made for Il Crepaccio’s Instagram Show, the new home of the Milanese art gallery curated by Caroline Corbetta on Instagram. Most of the elements that make up this collage are works of art and reports # and @ of its author.

Looking for You
15.7″x15.7″; digital collage; 2018
I imagined a story and, as it happens in dreams, I put it together through the images.

59″x59″; analogue collage: Wooden board, postcards; 2015
ES.N8/Greetings is a painting exercise. It consists of scraps taken from landscape [ostcards classified by sizes, colours, typologies, and contents. This rich archive of skies, mountains, trees and water courses is recomposed in a meta-landscape. Each fragment can be considered as a pixel which, together with the others, forms a single large panorama whose degree of resolution is proportional to the amount of its component parts. The recurring elements of a represented nature are layered and juxtaposed according to aesthetic and chromatic criteria which categorically respect both the source images and the resulting one. Simultaneously, the gaze embraces the part and the whole, the chaos and the order, the brush strokes and the canvas.