Exhibitions, Italy, Roma, 19 March 2011
Look at the pictures of Daniela Foschi necessarily leads to realize that space is something other than subjective assimilation through which our senses are accustomed to perceive what exists. We experience another dimension. What size is also a recognizable and known in some way congenial to the idea that we have in the world. Maybe we need to give their reason for an artist like Achille Perilli, when he argues that "there are two spaces. Mine, yours, ours, everyone, and another space: the art and in the latter living by painting shapes and colors that give us only in part, for as much as it is in our ability to make ". The painting that you do not exercise at all to play in a more or less faithful to the world that we, as physical beings, we live in reality it is a reflection of an entire universe and distinct, which provides a wealth of experience. Everything that exists in this universe is real, verifiable only in terms of evocation of passion, an emotion aroused powerful and compact that absorbs the heat pulse, breathing, the very essence of life. Daniela Foschi sets in motion a mechanism of light and color that splits and distributes the picture surface by tracing lines of movement in a direction and geometry thicken up in a chromatic texture, full of signs and settrici, which becomes true and its atmosphere, absorbing the invasion sensitive. The reality is, then this suggestion verberante light, whose rhythms are also moving stories, meetings, small moments and the actual cases, but also flow the feelings and perceptions of life.
Take for example these urban landscapes. The artist overhanged objective visual impression from the angles of a fast chromatic lines and shapes, and paths. Impression, but it is the true protagonist of the space, the real focus of interest in research and creative experimentation. Indeed, precisely such an impression is generated by the vision then, as the paintings whose subject is pure and unconditional development of color patterns. The same reasons, with their geometries or patterns, then enter as scenic backdrops and fifth in the pictorial, they run like that in every case paroxysmal segment the image structure, such as rampant circulation marking the swirling energy and movement within contexts. The relationship between intuition and representation is supported by the intertwining of these lines of force, futuristically by including in the composition, indeed by giving precedence, the guidelines dynamics. So spread the language's personal, equidistant from both the rationalist rigor of geometric abstraction as a liability by a mere descriptive naturalism. At least in these cities, in these situations of everyday ephemeral, vanishing characters inert identification of a given moment in a given place, and instead puts the final and absolute clarity in the internalization of an emotional appeal, and vital, every hour throbbing.
More than just a visual scan of reality, therefore, such adjustment shall comply with the tensions as a natural affinity with the scanning of these urban rhythms, tight as it records the artist's eye and they appear, as in our common experiences and feelings, fragmented, neighbors, co-present, independent and yet at the same time, build a cluster of compact and intricate timing and circumstances, perceptions overlapped and fused together, even balance of discordant, but now familiar and distinctive modern-day metropolis.
In all this we must never forget the light. Most of it was recorded and the individual effects, so to speak, individual moods (contiguous and their crowded composition), pursues painting and amplifies the visual impression. The drafting of the colors, its texture is just full, rough, mottled as consisting of spinning, scratching a spatula, and yet its atmosphere is made clear and crisp, light cancels volumes and shadows, the precise contours in a two-dimensional "cut glass". The expressiveness becomes so intense as to be able to conduct the unexpected perspectives smears and rapid movement to the "transparency" of the subject: what is depicted is revealed when to paint, to painting to give the order on which lay the physically relevant and recognized his plots. To the point that in some experiments Daniela Foschi strengthens the system with the inclusion of pictorial material, and thus also here, and wire partitions, opening to the substantiality of the elements and the thickness of the succession plans, and reflections, on the canvas. And it's interesting this game with the matter, with "things" (that's chairs Daniela Foschi, their "feel" unannounced in painting) that become subjects of art through the combination of enrichment and color, in this sublime dialectic between sizes. As you can see, the space comes back. In this space of reflection and tones of color, whose shape fits like a real fabric images, impalpable, yet intimately related to them. A space that is shaped freely, as an emotion and extent of the penetrating light.
Take for example these urban landscapes. The artist overhanged objective visual impression from the angles of a fast chromatic lines and shapes, and paths. Impression, but it is the true protagonist of the space, the real focus of interest in research and creative experimentation. Indeed, precisely such an impression is generated by the vision then, as the paintings whose subject is pure and unconditional development of color patterns. The same reasons, with their geometries or patterns, then enter as scenic backdrops and fifth in the pictorial, they run like that in every case paroxysmal segment the image structure, such as rampant circulation marking the swirling energy and movement within contexts. The relationship between intuition and representation is supported by the intertwining of these lines of force, futuristically by including in the composition, indeed by giving precedence, the guidelines dynamics. So spread the language's personal, equidistant from both the rationalist rigor of geometric abstraction as a liability by a mere descriptive naturalism. At least in these cities, in these situations of everyday ephemeral, vanishing characters inert identification of a given moment in a given place, and instead puts the final and absolute clarity in the internalization of an emotional appeal, and vital, every hour throbbing.
More than just a visual scan of reality, therefore, such adjustment shall comply with the tensions as a natural affinity with the scanning of these urban rhythms, tight as it records the artist's eye and they appear, as in our common experiences and feelings, fragmented, neighbors, co-present, independent and yet at the same time, build a cluster of compact and intricate timing and circumstances, perceptions overlapped and fused together, even balance of discordant, but now familiar and distinctive modern-day metropolis.
In all this we must never forget the light. Most of it was recorded and the individual effects, so to speak, individual moods (contiguous and their crowded composition), pursues painting and amplifies the visual impression. The drafting of the colors, its texture is just full, rough, mottled as consisting of spinning, scratching a spatula, and yet its atmosphere is made clear and crisp, light cancels volumes and shadows, the precise contours in a two-dimensional "cut glass". The expressiveness becomes so intense as to be able to conduct the unexpected perspectives smears and rapid movement to the "transparency" of the subject: what is depicted is revealed when to paint, to painting to give the order on which lay the physically relevant and recognized his plots. To the point that in some experiments Daniela Foschi strengthens the system with the inclusion of pictorial material, and thus also here, and wire partitions, opening to the substantiality of the elements and the thickness of the succession plans, and reflections, on the canvas. And it's interesting this game with the matter, with "things" (that's chairs Daniela Foschi, their "feel" unannounced in painting) that become subjects of art through the combination of enrichment and color, in this sublime dialectic between sizes. As you can see, the space comes back. In this space of reflection and tones of color, whose shape fits like a real fabric images, impalpable, yet intimately related to them. A space that is shaped freely, as an emotion and extent of the penetrating light.
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