Exhibitions, Italy, Roma, 23 June 2017
Re-traits
By Giuliana Silvestrini
Giuliana Silvestrini's personal exhibition is articulated as a site-specific project in the Scala D'Oro exhibition space, where the works are arranged along the scale to dialogue in a physical and visual sense with the guest, to show how within a ' Hypothetical home.
At the entrance of the exhibition space, an old, heavy frame encloses a family group, merged into a single lacquer rubber body that retains and carries the solid, almost material, golden cage of family ties.
The staircase walls, leading to an invisible top floor, feature family re-enclosed in golden frames. The "Ri-traits" are of wood treated with lacquered rubber that gives a light effect, the color is given by burrs with colors ranging from the rosaries of mahogany and rosewood to the brown of the nut, to the hot and deep blacks of the " ebony.
Observe a face and meditate on it with painting as a filter is crossing it, following the emotional wave that leads us back into the other.
Giuliana Silvestrini's Ri-traits tell of a process, drawing from the depths of memory, which freely relieves repeated gestures, represented by multiple and fluid castings, lacquered rubber lacquers, solid wax stratifications, and knife removals. A constant search for the compositional balance always tended to represent the sedimented image.
The subjects disperse in a tangle of signs, the figure dissolves in an informal set. The look rotates following the circularity of the formats. The circle, geometric figure where the principle and the end coincide, symbol of the continuous cycle of life, time, change and unexpected find. Monochromatic paintings that have a bond with the tradition of the classic portrait painted in the round and the more "modern" declination of the portrait meant as matter-color, sign and synthesis, pure and concrete language.
The installation, in coexistence with the paintings, is a photomontage devoted to time, celebrating for the continuity the ancient introspective practice of the artist's self-portrait who finds his identity through the encounter, almost a fusion, with the generating mother. At the same time, it shows a critical reflection on the conditioning of family relationships and the consequences of the development of one's own identity. Who am I? What is my own essence?
On a shelf two bricks side by side show on concrete surface and sand traces, imprints of disused clothes torn in bitumen. A recapture of the lost presence, through abandoned dresses, a declared impossibility to accept separation. The traces left by dresses, understood as skin, represent the micro silent narratives of different identities; A reason already faced in the work, "I can not help it" by 2015 at the Scuderie Aldobrandini in Frascati (RM).
At the top of the path, which seems to lead the visitor towards a revealing of an identity and existential matrix, deserved prize of every personal spiritual quest, we find instead the blurred and obsessive vision of a distant and shared infancy. A series of figures, like an old film jumping in the dark, reproduces a crowd of memories on a yellow screen. Further affirmation of an immutable circular procedure.
Guido D'Angelo
By Giuliana Silvestrini
Giuliana Silvestrini's personal exhibition is articulated as a site-specific project in the Scala D'Oro exhibition space, where the works are arranged along the scale to dialogue in a physical and visual sense with the guest, to show how within a ' Hypothetical home.
At the entrance of the exhibition space, an old, heavy frame encloses a family group, merged into a single lacquer rubber body that retains and carries the solid, almost material, golden cage of family ties.
The staircase walls, leading to an invisible top floor, feature family re-enclosed in golden frames. The "Ri-traits" are of wood treated with lacquered rubber that gives a light effect, the color is given by burrs with colors ranging from the rosaries of mahogany and rosewood to the brown of the nut, to the hot and deep blacks of the " ebony.
Observe a face and meditate on it with painting as a filter is crossing it, following the emotional wave that leads us back into the other.
Giuliana Silvestrini's Ri-traits tell of a process, drawing from the depths of memory, which freely relieves repeated gestures, represented by multiple and fluid castings, lacquered rubber lacquers, solid wax stratifications, and knife removals. A constant search for the compositional balance always tended to represent the sedimented image.
The subjects disperse in a tangle of signs, the figure dissolves in an informal set. The look rotates following the circularity of the formats. The circle, geometric figure where the principle and the end coincide, symbol of the continuous cycle of life, time, change and unexpected find. Monochromatic paintings that have a bond with the tradition of the classic portrait painted in the round and the more "modern" declination of the portrait meant as matter-color, sign and synthesis, pure and concrete language.
The installation, in coexistence with the paintings, is a photomontage devoted to time, celebrating for the continuity the ancient introspective practice of the artist's self-portrait who finds his identity through the encounter, almost a fusion, with the generating mother. At the same time, it shows a critical reflection on the conditioning of family relationships and the consequences of the development of one's own identity. Who am I? What is my own essence?
On a shelf two bricks side by side show on concrete surface and sand traces, imprints of disused clothes torn in bitumen. A recapture of the lost presence, through abandoned dresses, a declared impossibility to accept separation. The traces left by dresses, understood as skin, represent the micro silent narratives of different identities; A reason already faced in the work, "I can not help it" by 2015 at the Scuderie Aldobrandini in Frascati (RM).
At the top of the path, which seems to lead the visitor towards a revealing of an identity and existential matrix, deserved prize of every personal spiritual quest, we find instead the blurred and obsessive vision of a distant and shared infancy. A series of figures, like an old film jumping in the dark, reproduces a crowd of memories on a yellow screen. Further affirmation of an immutable circular procedure.
Guido D'Angelo
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