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Vera Maria Carminati
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Elio Succi
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Beauty and
Vanitas,
By Vera Maria Carminati -
(seleziona la pagina in
italiano)
Bertolt Brecht, Milan, Italy May 2006
Light,
silence, and unnatural suspension: the flash of lightning is fixed
in an eternal gleam and silence is taken away from time because
the roar of lightning remains suspended for eternity.
Things - everyday objects that talk amongst themselves and with
mankind in this parallel elsewhere - capture its astonished gaze,
suspend the referential and mutant play of signs to rise to being
pure and essential, and being indefinitely scrutinized in the
never ending contemplation of their details. They are perfect and
fleeting, replete yet weightless. Space dilates in the veins of
leaves and petals while time waits because the necessary instants
needed to unfold each shape and go through the ways of color are
infinite. A world that, even if small, includes everything- all
that is visible.
The object is the center of gravity of the painting’s space, and
the center of impulse, the regulating force of what happens around
it, from the doodle in liberty style, that is the imprint of its
law – a primary shape of cosmos that becomes law – to the gaze of
the spectator – distilled emotion and withheld breath.
The poetic detail of Laura Fantini’s still life paintings strongly
elevates the mimesis and, through an extraordinary technique of
control of color and shape, transforms the “invisible” to the
“visible.” In her metaphysical flowers, ideal perfection is
sharpened by a strong sense of transition where beauty and vanitas
merge.
The damaged stem, the leaf that curls up, the fold of the petal,
they all are stabbed by unreal light, a gleam that turns shadows
into abysses and reveals plateaus that are infinitely crossed by
transparencies and nuances. t is the metaphysical theater of a
parallel reality that lives on an eternal glance and an
inexhaustible sense of time, paradoxically fixed in flowers,
leaves, and natural elements - symbols of the inexorable flow of
things.
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