Daniela Cresti on the exhibition "Non c'è vento"
It is a suspended, almost a waiting world. Sometimes simply removed from sight. In "Fra qualche giorno partiro di qui" ("in a few days I will leave this place") the journey appears arduous. In the midst of large rolling boulders the destination is very distant. But the present is a disregarding of time, an enchantment of places which while they go on living attain to an Indefinite that is neither present nor past nor future, but only promise. Hope and desire in the work called "La promessa del mare" ("the sea's promise"). Strong sensuality in "L''ultimo tratto di strada" ("the last stretch of road"), where the hills go tumbling over one another and are lost in the mesmeric distance.
We feel ourselves embraced by these desolate yearnings, carried like children to sidereal places where the skies take on phantasmagorical hues and the water of the lake looks like a mass of mercury impendent over an event as much desired as feared. The artist succeeds in making silence speak, and in her landscape solutions the absence of sound takes on body in the resolute colouring, in the broad backgrounds, in the suadade pervading everything. It is a scene without actors, it is an intense monologue with her own sensations. With life, with nature, with grief.
In the visions of Angela De Nozza there are many quotations and references, ineluctable links with the history of art and literature. Balanced between the urge to portray the splendour of nature that surrounds her and the disquietude of the poet who renders visible that which "lingers behind the eyes... and exists only in one's own often hidden world ... ", she chooses a visionary alchemy midway between the collective fund of symbols and fantasies and her own inexhaustible capacity for creating poetic images.
Her present artistic position consists in a process of the essential synthesis of reality, in which the cult of the metaphor emerges with extraordinary force. The line is sure and continuous, the scope of the composition ample, the choice of colour clean and definite. Rarefied also is the figure, which almost never appears, the image becomes the essence of thought and feeling and provides the setting for the pictorial representation.
The line is rarely straight or sharply angled, and if it is, it is intended to indicate the stage wings of the narrative. In "L'ultimo tratto di strada" the harsh, uninteresting constructions on the sides of the space represented mark the boundary between the proscenium and the curtain, while the emergence of the scene itself is effected by means of a procedure devoid of harsh features, but full of emotion and participation.
The regular and rigid intelligible principle (form), and the cultural and intellectual superstructure, open up the space to the senses, to the most recondite hopes and fears. A window onto the unconscious, a benevolent glance at one's own weaknesses and those of others, a reconciliation with hidden impulses. The stretch of roadway softens, becomes curvilinear and sinuous, crosses the canvas in a crescendo of powerful sensations and astonishing tonalities.
But also in the calm after the storm, the sense of quiet expectancy fully matures in the leisurely, peaceful flow of the river that seems a presentiment that the sea is near. The only visible guardian of the horizon is a great tree, the impassive spectator of time and of all passing things. In this work the colours are muted, the impetus of action gives place to reflection, and everything is recomposed in the coursing of life-blood which leads to a blending with primeval and purifying matter