* 1955, Řím (Roma), Itálie (Italy)
Lucilla Catania was born in Rome. After graduating from the School of Arts with a degree in sculpture, she lived in France between 1980 and 1981, where her encounter with Cèsar put her in contact with the international scene of artistic research.
In 1982, back in Rome she starts producing a series of clay sculptures that bear the foundations of her poetics, by then already totally independent from all conceptual and analytical trends, as well as from neoinformalism. Her artistic research aims at creating a sculpture that can dovetail classical threedimensionalism and the awareness of the new sociocultural codes of the present time.
After some collective exhibitions in Italy and abroad, in 1985 she is one of the artists of Nuove trame dell' arte (New Art Textures), curated by Achille Bonito Oliva. 1985 is the year when the artist progressively gives up clay and switches to stone and marble. The consistence of these new materials coupled with the level of definition and formal completion allowed by marble boosts the artist’s research towards leaving out all formal redundancies, at times reaching immateriality and absence of gravity.
In 1988, her first one-woman show at Milan’s Galleria Artra; in that same year she participates in two collective exhibitions – Modi della scultura (Ways of Sculpture), curated by Filiberto Menna and Geometrie dionisiache (Dionysiac Geometries), curated by Lea Vergine. In 1989 a one-woman show at Rome’s Galleria Oddi Baglioni, once again curated by Lea Vergine; in the same year she participates in Orientamenti dell’Arte Italiana dal 1947 ad Oggi, a collective exhibition held in Leningrad and Moscow, curated by Simonetta Lux. In 1990 she features among Venice Biennale’s invitees in the Open section.
In 1991, Prague’s Hlavniho Mesta Gallery offers her a one-woman show; she participates in the series of exhibitions Kunstlandschaft Europa-Roma, curated by Peter Weiermeir at Frankfurt’s Kunstverein, and Roma interna, by Lorand Hegyi at Vienna’s Palais Liechtenstein.
At that year’s end she writes Fondazione di una nuova classicità per l'arte contemporanea (Foundations of a new classicism for contemporary art) for the art magazine Titolo, an article that summarizes the theoretical foundations of her work.
In 1995, together with fellow artists Renato Mambor, Cloti Ricciardi, Alberto Zanazzo, Fiorella Rizzo and Laura Palmieri, she founds A regola d' arte, a project that aims at disseminating food for thought about art, that promotes several events between 1995 and 1997. Thereafter some more preminent one-woman shows as several collectives; to name hust a few, Lavori in corso (Work in Progress) at the Municipal Gallery of Modern and COntemporary Arts (1998), La Scultura Italiana del dopoguerra: un percorso (Post-War Italian Sculpture: a Journey), at Vigevano’s P. Viscontiano (2000), La Scultura Italiana del XX secolo (XX-Century Italian Sculpture) at various Japanese Museums (2001), La Seduzione della Materia – Scultori Italiani da Metardo Rosso alle generazioni recenti (Italian Sculptor from Metardo Rosso to Recent Generations), curated by the Province of Milan (2002), La biennale di Scultura di Gubbio (Gubbio’s Sculpture Biennale) ( 2005), Sculture in Villa (Sculptures in Villas) at Rome’s Villa d’Este (2006), Sogni di mezza estate- Forum Austriaco di Cultura di Roma (Midsummer Dreams – Austrian Cultural Forum of Rome) (2007). In fall 2007, she participates in the exhibition Autobiografia/autoritratto (Autobiography/Selfportrait) curated by the Rome’s Gallery of Modern, in the historical venue of the H.C. Andersen Museum of Rome, and in Modi Monumental at the Interno Ventidue Gallery in Rome. Upon request of the Superintendant Anna Imponente, her sculpture Naturale (Natural) (2007) is permanently installed in the charming Courtyard of L’Aquila’s XVI-Century Castle, that hosts the National Museum of the Abruzzi. In 2008 the Museum of Contemporary Sculpture of Matera purchases one of her works.