Angela De Nozza

Reviews

Gustavo Durville on the exhibition "Inombrandosi"

Playing with the shadows of silence is Angela De Nozza's way of painting.
Backgrounds intersect on her canvases, and cold colours tend to colonise the lighter areas, the warmer shades reemerging from remote dreams. The superfluous escapes, only to re-join its uselessness.
The mostly warm colours start off from the unconscious and are attracted towards the conscious areas of the psyche, joining in a ripe chromatic unity recalling wild berries.
During its journey of perception, the gaze encounters functionless buildings, made obsolete by their presumed utility, painted for the eyes of cultural contexts which are aware of the fact that they have used up their last emotions, together with their expectations.
Buildings in vague landscapes, the symptoms of a dreamlike omen, the outposts of future memory, where nothing happens so as to leave all spaces to the (void). Once the streams of colour and most extensive backgrounds have been covered, every imagination comes to life among gazes.
Passion is consumed in a mobile labyrinth of shadows grasping nothing. In the mind's silence a desperate snake dreams of enveloping its partner, imagining it is caught up in an intense embrace with a real anaconda.
The traces of impossible love over the road surface remain, spread at random over the canvas.
The staging of the notion of "time" is ambiguous, though carefully thought out.
Initial examination shows that Angela's choices of colour recall the ones used in the 1930s. When our attention is charged, it can be observed that this work does not avoid the present, but puts it aside, shifting it to the time of common delusions. Contemporaneity is marked by the sign of shadows.
The fascination of the coloured ones is very special. They reach us from TV screens, to the extent of taking over our lives. Even when they are switched off they are still powerful. They fade away leaving an anxious aura when envelopes the human mind, which has now become a mere dump for dreamlike ruins, peopled by the ghosts of our illusions.
We must learn to live with these masses of the telematic depressed, controlled by distorting visual habits. Vague fragments of dreams survive, spread throughout these subjections sealed off by perverse use of all fiction, including the political kind.
However sublime the vanity of dreams, getting lost in their atmosphere and surviving by wandering may be, Angela develops her antibodies: making painting communicate is the activity necessary to defend her existential territory.
It is certainly the luxury she allows her balance. It is the optimistic version, so as not to sink in her or others' shadows.

Gustave Durville
Translation by Denton John
Florence, April 2004