Exhibitions, Italy, Bologna, 14 October 2010
The reality of Tina Sgro it clear to the viewer through his paintings. It is a familiar reality, made from mundane, daily routes. Yet there is an investigation into different, more intimate impression of the common dimension of the object. There is attention-trans material, evoking a memory, a dream. It is as if Sgro met its objects, its places, and to give, to let the moment take his brush strokes of the eye. Of that eye in which we perceive space and the line following the pupil. That's why an accomplice of the movement. The material is enlivened by the energy visual traits of light that illuminate the attention, creating a sense of space. His images appear sharper and intangible assets together, the reality of the subject gives way to the feeling: a paradox arises in the viewer emotionally. Paradox that forced him to abandon the idea of the town, to follow a strange emotion, due to the depth of the look of Sgro.
Its path is almost like a restless wandering through fragments of the world and grab the immediacy with which the artist lets the outside it occurs. Attention is directed toward an inanimate object, however, appears to be so personal to talk about a feeling.
Then the object becomes emotion. And that Sgro has long understood. He understood that allow the viewer to become his being a spectator, moves the common thread of the look and allows you to explore the emotional world of the artist.
So the prospect, rather than the color, brush strokes, creating the directionality of attention to that particular seemingly insignificant, able to convey a strange perception. A node that melts the soul with confidence.
Because to understand the poetry of Sgro should let themselves be led into a church and watching his eyes, a mystic chiaroscuro material, perceiving them as soon as the architecture of the altar.
We must bend on a fast road, with his own anxiety to reach, in time, another place.
Need to stay on the edge of a door to see two illuminated objects in a precise way, as actors on a stage.
To get the eyes just need to stand by and watch what Sgro has seen first, and then suddenly disappear. Giving the matter a connotative meaning and emotional significance.
Marguerite Matera
Its path is almost like a restless wandering through fragments of the world and grab the immediacy with which the artist lets the outside it occurs. Attention is directed toward an inanimate object, however, appears to be so personal to talk about a feeling.
Then the object becomes emotion. And that Sgro has long understood. He understood that allow the viewer to become his being a spectator, moves the common thread of the look and allows you to explore the emotional world of the artist.
So the prospect, rather than the color, brush strokes, creating the directionality of attention to that particular seemingly insignificant, able to convey a strange perception. A node that melts the soul with confidence.
Because to understand the poetry of Sgro should let themselves be led into a church and watching his eyes, a mystic chiaroscuro material, perceiving them as soon as the architecture of the altar.
We must bend on a fast road, with his own anxiety to reach, in time, another place.
Need to stay on the edge of a door to see two illuminated objects in a precise way, as actors on a stage.
To get the eyes just need to stand by and watch what Sgro has seen first, and then suddenly disappear. Giving the matter a connotative meaning and emotional significance.
Marguerite Matera
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