Simplicity is difficult. The know the authors of children's books, looking for immediate expressions able to break through in the imagination of their young readers. Well aware of the craftsmen who know how to give their items to the harmonic forms, managing only through an infinite work to mimic what occurs naturally gives spontaneously. It also clearly expressed Giacomo Leopardi, aware that to get the charms of childhood influences could not be "stutters like children," but it was necessary to deepen their awareness and their writing, to gradually eliminate all the superfluous, finding so high a speech, can easily have the strength of an immediate contact with things and with Nature.
realism in painting has always gone in search of this contact with reality, trying to recreate the immediate impact, corresponding to the power of suggestion or a stunning view of the melancholy evening surrounded by a mysterious fog. He tried to grab and play the game of shapes and colors, often leaving no words, just because this research was placed beyond the didactic pretense of telling a story. At the center of the picture there is only the vision and the participation of the viewer to what he had before, the search for a drive that ricomposione time, with its flow, tends to divide. We can not remain for ever stop to contemplate a landscape, that landscape will never be the same every time you throw a glance back. The painting, seeking to permanently fix a fleeting impression, and give you the colors and reflections of emotion, even more to represent a particular composition of shapes and colors true. Thus, the unity between the impression of the thing painted and the real one does not leave room for no overlay, if only that one word can name them. They are there simply to tell the charm of an impossible eternal embrace. In the pictures of Laura
Marcaccio there is a clear search for a match with his subjects. And because can not afford to imagine as they are, his painting experiences the difficulty of simplicity. On one side are the techniques used to impose to reconstruct the image. The watercolor painting is quick, but escapes just as quickly on the canvas and lose the details, the most thoughtful oil painting allows for more precise construction, but as a result is growing at a distance, through long periods of time. Most importantly, these changes are due to the need to find space even to match the emotion aroused in the subjects who paints them. It is not objectively photograph what is in front of their eyes, but the resumption of an event that have resulted in behind them, between the head and heart. That is the scenery and characters on display here, are "Brand" in a double sense: they are moments that belong to this region and its heritage places, traditions, people, but at the same time expressing his hand and look through which are filtered in a style both simple and elaborate.
roofs of houses and landscapes of the countryside, in the clothes of those who live on national folklore as the eternal ritual gestures of fishing, one finds the same "family", which does not originate only from the common subject, but also by another co-star, the light. In each painting can be found constantly reverberate color lighted that immerse the subjects depicted in a constant bath of light, which gently heats but does not burn. And the same landscapes and portraits emerge through an aura of white that fills them in several places, such as breaks, can look up and suspend the vision for just one moment, in which any realistic connotation is lost for transfiguration in a separate reality, though not unrelated. Here, in changing shades of color and reassert their flickering to explode in white patches on the canvas, Lauren reinterprets the vibration of light to weave a different embroidery, able not only to embody the emotion, but also to immerse themselves in 'rarefied atmosphere and indefinite memory.
Stefano Mazzoni
realism in painting has always gone in search of this contact with reality, trying to recreate the immediate impact, corresponding to the power of suggestion or a stunning view of the melancholy evening surrounded by a mysterious fog. He tried to grab and play the game of shapes and colors, often leaving no words, just because this research was placed beyond the didactic pretense of telling a story. At the center of the picture there is only the vision and the participation of the viewer to what he had before, the search for a drive that ricomposione time, with its flow, tends to divide. We can not remain for ever stop to contemplate a landscape, that landscape will never be the same every time you throw a glance back. The painting, seeking to permanently fix a fleeting impression, and give you the colors and reflections of emotion, even more to represent a particular composition of shapes and colors true. Thus, the unity between the impression of the thing painted and the real one does not leave room for no overlay, if only that one word can name them. They are there simply to tell the charm of an impossible eternal embrace. In the pictures of Laura
Marcaccio there is a clear search for a match with his subjects. And because can not afford to imagine as they are, his painting experiences the difficulty of simplicity. On one side are the techniques used to impose to reconstruct the image. The watercolor painting is quick, but escapes just as quickly on the canvas and lose the details, the most thoughtful oil painting allows for more precise construction, but as a result is growing at a distance, through long periods of time. Most importantly, these changes are due to the need to find space even to match the emotion aroused in the subjects who paints them. It is not objectively photograph what is in front of their eyes, but the resumption of an event that have resulted in behind them, between the head and heart. That is the scenery and characters on display here, are "Brand" in a double sense: they are moments that belong to this region and its heritage places, traditions, people, but at the same time expressing his hand and look through which are filtered in a style both simple and elaborate.
roofs of houses and landscapes of the countryside, in the clothes of those who live on national folklore as the eternal ritual gestures of fishing, one finds the same "family", which does not originate only from the common subject, but also by another co-star, the light. In each painting can be found constantly reverberate color lighted that immerse the subjects depicted in a constant bath of light, which gently heats but does not burn. And the same landscapes and portraits emerge through an aura of white that fills them in several places, such as breaks, can look up and suspend the vision for just one moment, in which any realistic connotation is lost for transfiguration in a separate reality, though not unrelated. Here, in changing shades of color and reassert their flickering to explode in white patches on the canvas, Lauren reinterprets the vibration of light to weave a different embroidery, able not only to embody the emotion, but also to immerse themselves in 'rarefied atmosphere and indefinite memory.
Stefano Mazzoni
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