Critical texts, Italy, Bologna, Castel San Pietro Terme, 10 June 2015
The pictorial world of Cacciatore outlines backdrops of great emotional extent, where you immerse in slowly, setting out on a profound and remarkable inner travel. A travel markedly permeated of a longing for investigation of the primordial inner self, together with a desire for an inner clarification that the Artist strongly perceives, as her Eye pays an inquiring attention to the detailed Beauty of the Particular: that is, Cacciatore investigates herself through universal details which she feels an integral piece of, acting as a Part of an immanent Whole.
Therefore, one of the expressive modes of the Cacciatore’s painting is the representation of the Particular, that is the attention to the detail that manages to produce amazement to the invisible, when focused and enlarged. Therefore the nature, absolute and unique protagonist in this painting, become for the Artist an inexhaustible source of particulars that are transformed in detailed looks on the microcosm of the Conscience. The central element leading to the transition from the visible of the nature to the invisible of the Conscience is the color. Cacciatore is not afraid of using and matching shades of color in her representation, on the contrary she uses them wisely to communicate with the observer. When you look at her paintings you realize that the color speaks first, plunging the observer in a dreamlike dialogue that could rouse a conscience, making it aware of the painting’s meaning, which always promotes Beauty. Cacciatore stands out from her works as a powerful soul, endowed with a great introspective ability. She uses painting as a means of deeply analyze her spirit in search of inner spaces that could help to broaden the unlimited horizons of the Knowledge. How far can the eye go forward on small portions of the Universe? What is there beyond the moment of the Particular? Indomitable and with a great temperament, this Artist analyzes herself in depth, without forgetting an unusual women’s sensuality.
Many of her paintings dating back from 2004 are characterized by a figurative expressiveness showing nature in spontaneous and essential features, represented with extreme elegance through paintings like “Calla Lilies in the Sun” (Calle al Sole) or “Wait” (L’attesa). Even in this period you can easily notice the use of bright shades of color and the particular attention on the Calla Lily, a flower of high sensuality that Cacciatore frequently represents, both in its being essential and in a more meditative form like in “Moonlight” (Chiaro di luna), a painting that expresses perhaps more than others the power and the sensual energy of the Artist. It is also evident the passion for landscapes and for red and solitary suns, themes that she will not forget even in the future.
Curvature lines that weave the outline of flowers and landscapes on her paintings, soon become the compositional thread of her works. Through these expressive lines, which start to be evident in her 2005 paintings, we can see a gradual awareness of our painting expressiveness. These guidelines demolish the composition of landscapes and floral natures as far as realizing real dreamlike backdrop. Clear examples are “Lilac Field” (Campo di lillà), “The street” (La strada), “Landscape” (Paesaggio) but the artist herself declares it in her painting “Me” (Io). Another significant element in paintings of this period is the figurative presence of an embryonic nucleus, like in “Dream” (Sogno), “Southern land” (Terra del sud), “Lagoon landscape” (Paesaggio lagunare), “Dawn” (L’aurora). The year 2006 represents a turning point in the artist’s pictorial life. On her paintings there is an inner landslide, her painting converge on what will be its future authentic form. The classic vision that Cacciatore expressed in her works makes now room for a real dreamlike backdrop, a stream of consciousness, a creative chaos that will bring its nucleus in “Flying over” (Sorvolando) in a new emotional dimension, through her work “The drop” (La goccia). Under this key to understanding it is emblematic on this subject the observation of the painting “The moons” (Le lune) which seems to be the escape point of a soul through the universe.
Finally you reach the silence initially showed in works like “The silence” (Il silenzio), “Lhasa” (Lhasa), “The detachment” (Il distacco) and which soon becomes one of the main expressive characteristics of the Artist: representing the silence is not easy but Cacciatore is successful and every painting becomes the wording of a silent dreamlike universe. From paintings of 2008 onwards there is a strong conceptual abstraction, the Artist weighs the anchor leaving to discover a new profound dimension of the being. Her visions sink the meaning through signs, closer images or particulars which remind to symbolic abstraction of her inner self. And herself realizes the inner depth that reaches through paintings like “The conversion of Lorenzo” (La conversione di Lorenzo) or “Glows of light” (Bagliori di luce) which attract the observer inducing him to meditation inevitably.
Cacciatore has a sensitive mind and propose in these backdrops of figurative meditation themes dear to her, probably useful to exorcise the obsessions of a very sweet and restless soul.
In “Slowly” (Adagio), painting of strong sensitive fragility, the Artist expresses the quiet passage of time, widening the vision on a single portion of nature and letting the slowly become a real existential condition.
In “Rock me” (Cullami), painting of particular intensity for the chromatic use and for the instinctiveness of the particular, you perceive the sense of belonging and the warmth of a bud rocked by his petals. It is interesting to notice that the curves of the lines gain in paintings of this period a more pronounced impressiveness compared to the past “nucleus”: the Artist gain a wisdom and a women’s sensuality, inherited from the slowly of the time. “Maternity” (Maternità) and “Giulia” (Giulia) are samples of this; “Giulia” is an unusual painting to the eye, because of the eccentric black hole which is a clear reference to another universe created by the Artist through a new life: her daughter Giulia.
The sensuality of Cacciatore is likewise expressed on her paintings with a disarming dreamlike elegance, as you can see in the two paintings “Before” (Il prima) and “After” (Il dopo), or the paintings “The detachment” (Il distacco) and “Natural crossings” (Incroci naturali).
Reflecting on works like “I went to see you but you weren’t there” (Sono passata a trovarti ma non c’eri) or “Everything is permanent except for the change” (Tutto è permanente tranne il cambiamento) bring inevitably to simple meditation. The Beauty of these paintings is in the harmonic connection that lines create through elegant and sinuous shapes of fragments of nature. Through these lines the Artist write about her detachments, her losing and looking for herself, helped by the color, more and more intense as more and more profound are her emotions. In paintings like “Hugs” (Gli abbracci) the lines of a landscape by now demolished blend together in an emotional background, leaving perceive that someone could say love through the rigour and the expressiveness of colors.
The artist Cacciatore has the natural gift, unusual for a painter, for writing long stories through her paintings, stories made up of glows and crossings, detachments and hugs, which become poetry in the eyes of the observer. Personally I hope that this mind so intense and regal, with a deep soul anchored to her ever evolving nucleus in the universe of the being, will never get tired of telling stories.
Anita Nuzzi
Therefore, one of the expressive modes of the Cacciatore’s painting is the representation of the Particular, that is the attention to the detail that manages to produce amazement to the invisible, when focused and enlarged. Therefore the nature, absolute and unique protagonist in this painting, become for the Artist an inexhaustible source of particulars that are transformed in detailed looks on the microcosm of the Conscience. The central element leading to the transition from the visible of the nature to the invisible of the Conscience is the color. Cacciatore is not afraid of using and matching shades of color in her representation, on the contrary she uses them wisely to communicate with the observer. When you look at her paintings you realize that the color speaks first, plunging the observer in a dreamlike dialogue that could rouse a conscience, making it aware of the painting’s meaning, which always promotes Beauty. Cacciatore stands out from her works as a powerful soul, endowed with a great introspective ability. She uses painting as a means of deeply analyze her spirit in search of inner spaces that could help to broaden the unlimited horizons of the Knowledge. How far can the eye go forward on small portions of the Universe? What is there beyond the moment of the Particular? Indomitable and with a great temperament, this Artist analyzes herself in depth, without forgetting an unusual women’s sensuality.
Many of her paintings dating back from 2004 are characterized by a figurative expressiveness showing nature in spontaneous and essential features, represented with extreme elegance through paintings like “Calla Lilies in the Sun” (Calle al Sole) or “Wait” (L’attesa). Even in this period you can easily notice the use of bright shades of color and the particular attention on the Calla Lily, a flower of high sensuality that Cacciatore frequently represents, both in its being essential and in a more meditative form like in “Moonlight” (Chiaro di luna), a painting that expresses perhaps more than others the power and the sensual energy of the Artist. It is also evident the passion for landscapes and for red and solitary suns, themes that she will not forget even in the future.
Curvature lines that weave the outline of flowers and landscapes on her paintings, soon become the compositional thread of her works. Through these expressive lines, which start to be evident in her 2005 paintings, we can see a gradual awareness of our painting expressiveness. These guidelines demolish the composition of landscapes and floral natures as far as realizing real dreamlike backdrop. Clear examples are “Lilac Field” (Campo di lillà), “The street” (La strada), “Landscape” (Paesaggio) but the artist herself declares it in her painting “Me” (Io). Another significant element in paintings of this period is the figurative presence of an embryonic nucleus, like in “Dream” (Sogno), “Southern land” (Terra del sud), “Lagoon landscape” (Paesaggio lagunare), “Dawn” (L’aurora). The year 2006 represents a turning point in the artist’s pictorial life. On her paintings there is an inner landslide, her painting converge on what will be its future authentic form. The classic vision that Cacciatore expressed in her works makes now room for a real dreamlike backdrop, a stream of consciousness, a creative chaos that will bring its nucleus in “Flying over” (Sorvolando) in a new emotional dimension, through her work “The drop” (La goccia). Under this key to understanding it is emblematic on this subject the observation of the painting “The moons” (Le lune) which seems to be the escape point of a soul through the universe.
Finally you reach the silence initially showed in works like “The silence” (Il silenzio), “Lhasa” (Lhasa), “The detachment” (Il distacco) and which soon becomes one of the main expressive characteristics of the Artist: representing the silence is not easy but Cacciatore is successful and every painting becomes the wording of a silent dreamlike universe. From paintings of 2008 onwards there is a strong conceptual abstraction, the Artist weighs the anchor leaving to discover a new profound dimension of the being. Her visions sink the meaning through signs, closer images or particulars which remind to symbolic abstraction of her inner self. And herself realizes the inner depth that reaches through paintings like “The conversion of Lorenzo” (La conversione di Lorenzo) or “Glows of light” (Bagliori di luce) which attract the observer inducing him to meditation inevitably.
Cacciatore has a sensitive mind and propose in these backdrops of figurative meditation themes dear to her, probably useful to exorcise the obsessions of a very sweet and restless soul.
In “Slowly” (Adagio), painting of strong sensitive fragility, the Artist expresses the quiet passage of time, widening the vision on a single portion of nature and letting the slowly become a real existential condition.
In “Rock me” (Cullami), painting of particular intensity for the chromatic use and for the instinctiveness of the particular, you perceive the sense of belonging and the warmth of a bud rocked by his petals. It is interesting to notice that the curves of the lines gain in paintings of this period a more pronounced impressiveness compared to the past “nucleus”: the Artist gain a wisdom and a women’s sensuality, inherited from the slowly of the time. “Maternity” (Maternità) and “Giulia” (Giulia) are samples of this; “Giulia” is an unusual painting to the eye, because of the eccentric black hole which is a clear reference to another universe created by the Artist through a new life: her daughter Giulia.
The sensuality of Cacciatore is likewise expressed on her paintings with a disarming dreamlike elegance, as you can see in the two paintings “Before” (Il prima) and “After” (Il dopo), or the paintings “The detachment” (Il distacco) and “Natural crossings” (Incroci naturali).
Reflecting on works like “I went to see you but you weren’t there” (Sono passata a trovarti ma non c’eri) or “Everything is permanent except for the change” (Tutto è permanente tranne il cambiamento) bring inevitably to simple meditation. The Beauty of these paintings is in the harmonic connection that lines create through elegant and sinuous shapes of fragments of nature. Through these lines the Artist write about her detachments, her losing and looking for herself, helped by the color, more and more intense as more and more profound are her emotions. In paintings like “Hugs” (Gli abbracci) the lines of a landscape by now demolished blend together in an emotional background, leaving perceive that someone could say love through the rigour and the expressiveness of colors.
The artist Cacciatore has the natural gift, unusual for a painter, for writing long stories through her paintings, stories made up of glows and crossings, detachments and hugs, which become poetry in the eyes of the observer. Personally I hope that this mind so intense and regal, with a deep soul anchored to her ever evolving nucleus in the universe of the being, will never get tired of telling stories.
Anita Nuzzi
Comments 2
Say something