ELISABETTA VIARENGO MINIOTTI

“SEASONS”

introduced by Gianfranco Schialvino

 since may the 4th to the 27th2006

inauguration

may the 4th 2006 – 17,30

Season - oil on canvas - 100x100 - 2006

"Season

If you go over Elisabetta Viarengo Miniotti’s painting career after so many years of activity, a new, specific and unforeseen structural element to help you  “read” her work will come up. In fact, I sense a kind of circular movement inside it, whereas a merely formal investigation might point to a straight and obviously irreversible dynamic pattern in the progress of her artistic personality. Indeed, along with the consistency of her pictures, stylistic recurrences and repetitions frequently appear, with some occasional free flights as this paintress constantly updates her cultural adventure.

So, the title of this exhibition, i.e. “Seasons” seems to be extremely logical in spite of its serendipity. Somehow, in its consciousness of an intimate operative identity, it implies a dynamic energy which, however, is curbed and limited in a specific search for formal dialectics, without any outburst or overwhelming provocation, but with dynamic inventiveness and symbolic poetic characterisation.

Elizabeth ’s pictorial output is based is based on intimate emotional and imaginative experiences. The motivations for her remarkable, deeply-felt and austere investigations of nature, carried out according to a  guide-line for research which was quite fashionable at the beginning of her artistic career under the name of “abstract-concrete,  are based on Panic feelings.

As she stands apart from the frantic succession of trivial events and cultural fashions because of an instinctive intellectual and psychological mistrust, her modus operandi rests on her blind confidence in the construction of a personal universe of chromatic space where colour, the archetypal painting matter, is enhanced in a pragmatic creative enthusiasm fully shared by the senses.

The result of this patient alchemy combining an anxious search for identity with imagination and experience from real life, and with craftsmanship and invention, deeply embedded in a physical relationship with the environment and a specific poetic matrix, is a kind of painting with a particular chromatic structure whose purpose is to lay out a scene with consistent and evocative iconic motivations.

Elizabeth ’s times are slow and long. She is substantially connected to the rhythm of nature’s cycles. She is self-ruled, independent and proud of her diversity and autonomy. In her paintings, colour is song and harmony, music that fills up your senses, and an immersion in the light of the palette. The concert of the golden yellows smells of corn, the azure where the swimmer dances has a saltish taste, the fog wraps the vine-shoots in pungent dampness, dew-drops ooze from and the snow shines on, the birches. Colour, throbbing with life, pregnant now with glimmering and then with dazzling light, is the rustic matter of her emotional dimension: she steeps spikes and flowers in plastic and immerses her supple swimmers in fluid, and clouds, branches and butterflies in the air. These are no obvious symbols but emotions re-experienced and re-proposed with a rediscovery of creation represented with an intense impulsive sensuality in its rhythms, its exciting or wearisome alternatives of casual emotions in the inexhaustible questionings of life.

Her representations of nature are thronged with chromatically consistent signs, which animate her subjects from inside and are closely woven or even twisted together.

Sometimes, the tangles unravel, the underlined marks of inner grief encumbering an image disappear, and the lines stretch into space and thin out to create a stain or some evenly-spread out tones of colour, or a different though parallel expression where the plane is preferred to the line; sometimes the brush-stroke prevails, as if it was engraved in the matter with a tangle probing the formal beauty of the page and involving it in deep emotions and strong passions.

This is particularly the case with her graphic works where the stroke becomes a metamorphic scratch, or a lacerated wound in which intersecting lines suddenly branch out and overlap in a synthetic combination. The final result is achieved by means of pastels, and even more of the iron that imprisons the plate and the sheet with a tattoo that lays any formal aestheticism aside in order to reinforce the structural and expressive arrangement with the absence of colour.

Elizabeth ’s way leads to the plastic construction of a visual emotion. It cannot really pass unnoticed how far the adventure of memory and feeling, the presence of human existence, and the soul’s consciousness pervade, define and enrich her style with life."

Gianfranco Schialvino

“Micrò” Art Gallery - Torino

Piazza Vittorio Veneto, 10

Timetable

tuesday - friday 16,00  -  19,30

Saturday  10,30  -  12,30       15,00  -  19,30

Elisabetta Viarengo Miniotti mail@eviarengominiotti.com

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