Cecilia Cubarle’s art is like a series of dreams. Almost tangible, yet unreal nonetheless –and occasionally bordering on the surreal. The observer is sucked into landscapes, partially liberated from logic and permeated by beauty, that evoke the spirit of René Magritte.
 “My work is like a secret diary”. Cecilia Cubarle writes in a note that can be accorded the status of a manifesto for her work.
 In the text she underlines her endeavours to discern the relationships between art and the market, feminine and masculine, and to comprehend the constant reciprocity between the aesthetic and the grotesque: “Esthétique ou non-esthétique?” she asks herself in the manifesto.
 In her acrylic Métamorphose from 2004 Cecilia Cubarle gives form to all that is supple and gossamer light with a few diaphanous yet iridescent bookmark butterflies that stand in stark contrast to the leaden mechanical mass of an old sewing machine.
Similarly, in her painting Vice-Versa from 2005, she plays and ponders with the opposites of male-female, illustrated here by the flamboyance of veteran cars to which a floral motif forms an eloquent counterpoint. 
 Cecilia Cubarle was born in 1975 in Córdoba, Argentina. Between 1994 and 2000 she studied at the School of Fine Arts at the university in her home town. Then, armed with a Masters degree, she moved to New York where she became active in the Arts Students League. Her education includes elements of both drawing and graphic art as well as painting. Today she lives and works in Paris. 
 Cecilia Cubarle’s first solo exhibition was held in 2000 under the title Documentaciones falsas (“False documentation”). The same year she also participated in a joint exhibition in Quito, Ecuador, that attracted considerable attention. 
 In 2006 Cecilia Cubarle joined Les nouveauX pop, a group of ten artists from the new pop art generation that includes names such as MariaManuela, Antonio de Felipe, Philippe Huart and William Sweetlove. Together they have staged several joint exhibitions in Europe and Asia. 
 Totally unexpectedly, in almost Monty Pythonesque manner, a wedding cake appears in one of Cubarle’s works. The confection is crowned by a bride and groom, balanced on top of a London bus and – below that – layers of works by the Great Masters, including Duchamps’ world-famous pissoir and da Vinci’s Mona Lisa. Humour is tempered with echoes from the history of art.