Manescu is a hoarder of process. A single canvas might contain dozens of layers—some painted, some collaged, some scraped away. She employs a technique often described as "subtractive painting," where she builds up surfaces with gesso, plaster, paper, and acrylic mediums, only to sand them down, carve into them, or wash them away.
This process creates a geological record on the canvas. The viewer doesn't just see the final image; they see the history of the image’s creation. Cracks, fissures, and ghosted images from previous layers peek through, suggesting that the work of Chery Manescu is less about depicting a moment and more about depicting the passage of time itself. chery manescu work
When searching for "Chery Manescu work," one might encounter a few misunderstandings that need clarifying: Manescu is a hoarder of process
The scale of Chery Manescu work varies wildly, from intimate 12"x12" panels that feel like diaries to massive 8-foot diptychs that function as environmental installations. However, regardless of scale, she maintains a tension between industrial materials and intimate gestures. This process creates a geological record on the canvas
She is known for incorporating unorthodox tools: putty knives, drywall scrapers, and even concrete trowels. Yet, these harsh tools are often used to render incredibly delicate effects—thin washes of ink or the soft imprint of lace found in her earlier textile studies.