Bellezza urbana

Comment

Comment by Leonardo Lanzolla on January 4, 2016 at 11:39pm

….My figures start to appear to me with their own ephemeral sense of wonder after I manipulate color on the clayboard , with my hands, rags, gloves, various pointed tools, brushes etc...

I like to don't think about art when I paint..I love to don't know what I'm going to do, I enjoy to be surprised from color…and …what is getting shape from it in the process.

At that point I'm prepared to all unfamiliar shapes emerging and appearing to me,,I  gently cultivate them along the way..in a conducive manner. These figures, are stronger then I'm dictating me their path painterly; that's the moment that I love the most in the process, a warm feeling of being so close to my heart and my senses.

Comment by Resident Curator on January 2, 2016 at 7:12pm

Curator’s Comments:  

 

Happy New Year to you as well!  And thank you for alerting me to the new work you’ve added to the site.  I’m delighted to see these mixed media works have a similar intensity and interplay between smooth lines and jagged shapes.  Bellezza urbana may be my favorite in this new grouping, with a fresh division of large color blocks.  I like that the figure pushes slightly off center of square, and there seems to be pull from various sides of the picture plane, creating movement and intrigue.  The simplicity of her linear facial features keeps the piece light, but it doesn’t for me become a whimsical or narrative painting.  Instead, the female form is an archetypal emblem; something to hang formal painterly relationships on to explore plasticity versus pure pigment as decoration.  The scrawled line in the interior of the black clothing and suggested dots for pearls are examples of the later. The scraffito and scumbled surface also suggest a timely erosion of the surface, or a sense that the subject is formed subtractively rather than additively in the space. The Sgrunt of numbers is another engaging but mysterious piece.  I read the imagery as a figure holding numbers behind its back.  The title doesn’t offer any more insight, but the piece doesn’t appear to be purely abstract.  Maybe you can offer us some insight into the origin of the figures?