Francesco Vossilla on "Riposano le colline"
"I am as vague as the sea like those who have nowhere to stay" (Lao-Tse)
Paintings forced back toward the fantastic, marked by a long time and sentimental. Impalpable extent, vague feelings and perceptions that would become known only in a liquid or meandering reach. So the picture looks like the figure of what could be memory or desire, or something 'photographed' beyond the real, both in memory and in the search.
A time that, in other words, dilates the geometric coldness of this with its net names and its increasingly strong outlines.
In fact, the painted forms have no harsh resolutions or delineated by sharp lines. Instead of composing very painterly is to be through the volume and the masses, as indeed in the recent and intense Riposano le colline. Forms of large volume, rounded masses, upright for three-dimensionality, review plastically to evoke clouds loads, disturbing flowers but also a properly human element, anatomical, even folds of flesh.
The landscape or - say, for simplification - the nature resembles us how much swollen lymph and blood, in the same way of a lap. This sensitive corporeality is grasped as the ruler of the world.
In Fra qualche giorno partirò da qui of last year, two architectural demented (definitely some ups and squalid tenements) contrast rush with a nature of hills built for large green fields and crossed by a black leaden.
The profiles, sometimes chicking and rolled, they increstano detachment and they get up in the round, but the two narrow side forms. These structures of oppression - aggressive in their red and purple - squeeze and compress the 'meat' of the green hills still overflowing. The side and oppressive forms are clearly inventions of man, and so appear to repress or at least infer with feminine fullness of the hilly landscape. Remedies worse than the evil. Bondage more than the same vitality of natural facts of tensions already loaded, a burden of the subject.
As perspective axes they recall an organization fifteenth dais (in instance the one behind the San Giorgio by Donatello), and another from the bottom and from the heat of the painting, the artist found in a sidereal tangle of hills to encircle our lowly horizon.
In both works mentioned above, as indeed in other paintings by Angela de Nozza, seeming inaction or slow life hides a force whispering in those masses and fruitful in the 'formal' contact between us and nature. Among the germinal desire and the seminal legacy of memory.
Among the lap of nature and our body it is round like a dark and true proximity, original and always present, which does not have a specific name. So it can not be too close from the harsh profiles that were said to miss in the paintings of Angela de Weddle.
This proximity, or similarity pleasant and soothing, shines in Li qualcosa e rimasto: a force whose power never settle, but whose name shall not transgress the limits of the painting. It come clear; contrasts with the beginning of our rational knowing through lucid words. Impossible, in short, to name and define the forms of the landscape. Elements that we are always opposed to analyze and with strict lineage we would like to call accurately.
As in a pictorial tao simple fairy tale, the beginning of heaven and earth are unnamed. The omen is based in the memory of a previous contact, even lost, due to the disruption of nostalgia every pili exotic landscape.
A world devoid of humans perhaps alludes to a heart emptied of urbanity and individuality, or rather that only trusts of the same nature, and that here is a mirror in which to look at a way of refuge and rebirth. The disappearance of the human has a whole 'island flavor'; indeed, in this semantic forcing you must read a limes geographical and sentimental. To those from an island observe the changing landscape. In it, the human presence and scrutinized and reduced to a matter like any other, as seen in È uno specchio questo mare. A silvery carpet of flat water on which slide two dilapidated vessels as sea monsters. It is unknown who or goods lead to the point of observation of the painter, who imagines the upper island. In this framework the shapes of trees discarded from two-dimensional to take a plastic solidity, infused with bodily sensations. The sculptural character of the landscape appears as reiterated in the men's work that attacks the marble; instead it made to correspond to the volumes intensity pili female libido and does fly, to give Levite of clouds or essences filled with air.
Like dreams, even large and filled forms of nature can not be defined and named it become something else. Here you can see, as well as literary references, remote magic expressionism memories, the strongest work of Luigi Mainolfi and further back, of course, the feminine force and shamanic by Georgia O'Keeffe.
Francis Vossilla b>