Christian Rosa

Brazilian, b. 1982

SOLD Untitled, 2014, oil stick, oil paint and charcoal on linen canvas, 71 x 82 inches

Untitled, 2014 in situ at Vallarino Fine Art, New York

SOLD Nusvard, 2013, oil stick and oil on canvas, 35 3/8 x 40 1/8 inches

Untitled, 2014, oil stick, oil paint, pencil and charcoal on canvas, 79 x 94 inches

Untitled, 2014 in situ at Vallarino Fine Art, Studio, Millbrook, NY


Christian Rosa’s sparse and eloquent abstract paintings function like automatic writing, visually tracing the movements the artist has made in front of the canvas. Working within the self-bound limits of his own physical gestures, the act of painting is, for Rosa, a process of discovery which contains both the building blocks for pictorial narrative as well as the methods for its deconstruction. His work is open-ended, encouraging the viewer towards more interior contemplation and modes of enquiry.

Christian Rosa lives and works between Los Angeles and Vienna. Rosa’s practice focuses less on its intellectual engagement and more on the experience of art viewing and the sense of submission to the often unpredictable process of gestural painting.  He creates abstract universes with colored pencil, spray paint, and oil paint, creating a visual code of color and form that stands independently from strict narrative.  Rosa puts trust in mistakes, using them as potential points of further exploration.

Just a few years ago artist Christian Rosa was largely unknown, Rosa has since acquired an intense heat and gravity of his own. That is to say, a new star has risen, and savvy collectors have entered into orbit. Rosa’s work recalls the playful, abstracted lines of surrealist legends like Joan Miró. Each painting is furious with activity, even as the canvases bear huge stretches of unmarked white space. 

Isolated elements and shapes of pure primary color float against a raw canvas background allowing new modes of communication to arise between disparate marks on the canvas and lines, dots, squares, and scribbles evolve together, becoming the preliminary forms for further engagement suggesting the very beginning of some kind of figuration.  Rosa harnesses the inherent qualities of materials, using their textural appeal to encourage emotive and subjective responses in the viewer.