Segno e Materia [Sign and Matter]

The recurring subject that appears in the works of this Brescian artist is the human figure: individuals are always isolated, enclosed in a background that is never defined by perspectives and horizons.

Faces, bodies and details are characterized from a very narrow angle, which allows only for the figure, the only interest of the work.

Fixed glances, directed beyond the frame and captured in seemingly calm expressions, are weighed down with dismay, melancholy and an almost disquieting awareness.  With a nod to the scratchy and raw painting style of Schiele, and to the extraordinarily strong colours of Kokoschka, it is through such German expressionism that the painter expresses the uninterrupted and intangible flow of emotions.  

The transfusion of these, in terms of style, sees the brush being replaced by spatulas or random tools, which depict the fierce intensity of the painting in all its force.  It is through vigorous spatula strokes that the static postures acquire their movement: the deposit from charcoal sticks swept along with the typically pale colour of the oil, yet still retaining all its full-bodied qualities.   The increasingly dense and thickened colouring encroaches on the image, which is swallowed up by the glazed paint.

The clarity of the strokes and the steadiness of the lines are the means through which these portraits and self-portraits seek their pulsating humanness, which is crossed with a sense of warm emotional involvement, while still emanating the spiritual value of the work.  

Tormented, anguished or desolate at times, the subjects actually transpose a personal state of mind, which is always a focus of the artist's deep introspection.  Through the studies of the great philosopher, Deleuze, she has learnt about the theories of expression of sensation, with reference to the works of Bacon and Freud, as well as the masterful modulation of Cèzanne's colouring.

Even the surface of the figures are depicted with a strong muscular tension, while this is regularly tormented, scratched and manipulated by the artist.  Such is the way she expresses her temperament as she leaves her imprints behind her; rough crevices and deep grooves, which bring out the strength of the statement previously seen in her paintings.