IL CANTO DELLA PITTURA
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SINGING BY PAINTING

by Lorenzo Canova

06.3.2017

Am overwhelming diving into the deep waters of light, a voyage moving through a magnificent blooming of manifold colours, a descent into a thriving chromatic uproar with its stirring drive towards freedom; this is what contemplating Maria Rita Vita works consists of; the collection of her realizations fits into the traditional modes of the great masterpieces of Action Painting, and into that artist’s sensitivity that spews out of the subconscious sources of her imagery. The unfolding of these elements moves along a pathway which passes through Surrealism up until it embraces U.S.A. Action Paintng movement, and a significant part of the European Informal trend.

Nothwithstanding the influences exerted by these styles, Maria Rita Vita rarely makes use of their distinctively dramatic palette, upon which black, red and grey hues would predominate over other tints. This was the chromatic pattern of choice among artists whose production dates back to the early postwar period. The artist also shows potentials for modulating her painting tecnique according to different registers, in keeping with the brighter side of the Naturalistic Informal artistic movement, a goal she achieves through her deliberate and original reimagining of the history of colours combinations with light. The experimental evolution of chromatic techniques we are referring to was first introduced in painting on the initiative of Impressionist artists .

One of the most influential source of inspiration for Maria Rita Vita builds on the momentum of Claude Monet painting style, with particular reference to his so-callad “water lilies cycle” whose main traits she evokes in the stream-like liquid look of the colours streaks she applies; this technical expedient directly resembles the splendid symphony of lyric vibrations brought about by the Impressionist Master. This stylistic choice Maria Rita Vita opts for transcends any starkly outlined shape in favour of a Panic feeling which permeates the portrayed natural scenes; thanks to this contrivance, the landscapes she depicts are no longer simply stared at, like in a passive attitude of the beholder; conversely, the observer can experience the participatory intention of the artist who is able to shed new light on the essential core of nature itself.

It is not a fluke that the artist’s works are pervaded by a wistful feeling in the reminiscence of springtime, of its rebirth to life and of the renewed warmth brought about by this season’s light, whose vibrations are raised into higher frequencies. These tonalities border on those of a mystic awakening, mirrored in the fervent intertwining of her paintbrush strokes and drippings. The “dripping” technique itself is a tool whereby the artist carries out a sort of chromatic marquetry on the canvas, bridging the gap between reason and emotion, norm and feeling. In so doing she successfully contrives the balanced measure of an harmony orchestrated often times on the basis of a rhythmic reconciliation of opposites.

That being said, the artist’s paintings are a composition of imaginary and abstract landscapes, along with metaphores for the eye feasting on the marvels of a deep tight connection with nature. The beholder’s eyesight almost transmutes into a tactile synesthetic sense which meets the portrayed objects thanks to the expert perceptual guidance provided by the artist’s skills; her realizations are also instrumental as a tool for interpreting the world and bringing together parts of it in a whole comprehensive picture.

Thus, we can see how the artist is able to effectively adjust her graphical skills in such a way as to give birth to a style that is both immediate and well-thought-out. Her expressive manners are a compound system where the energy of colours, of each painting stroke, of dripping patterns and layers which thiken on crucial portions of the pictures are counterbalanced and furtherly enlivened by a subtle and almost intangible grace, interwoven as if it were an embroidery into the fabric of her works; these features bring along a network of simultaneously light and austere connections and sequences of signs.

Thanks to her technical expedients and style, Maria Rita Vita outlines visual pathways which span the whole spectrum of a wide-ranging magitude, from the living cells’ microcosm to the farthest reaches of the macrocosm, grasping the humonguos size of heavenly bodies. In so doing, the artist delves into the innermost dark chasms of such a universe, where she finds out precious astral gems born to the otherwise inscrutable abysmal realm of the unknown.

This is how the artist taps into the origins of modern Abstract Painting, again, hilighthing her affinity with one of that movement’s founding fathers, namely, Wassilij Kandinskij; in this respect, she resumes the symphonic perceptual impressions elicited by his art, by its synchronic and synesthetic juxtaposition of tonalities and colours, across a chromatic space which manifests multifarious elements, all comprised in the unfathomable perfection of cosmic ratios and harmonies, in the indiscernible sounds of small things, up until she even wellcomes the hazards of the mermaids’ fathal chant, the trebles of angelic voices whose presence his hinted at by the paramount purity of her figurative art layout. The latter is surprisingly brightened up by golden glares, every now and then.

By virtue of a so-defined paintnig art, Maria Rita Vita is able to open up to bird-eye perspectives of predatory fowl slicing through fiery skies. Similarly, she conjures up a sort of alchemic transmutation whereby the slimy sludge of river beds is turned into a life-begetting legacy of soaked humus impregnating the earth. The outcome of all this are pieces of art which deliver such a precious treasure trove to the perennial collective memory, ever reminiscing the heady scent of light-blue and violet hues. The artistic raw materials Maria Rita Vita employes trhob with mnestic recollections, laid down in her multilayered paintings. These very pictorial represenations are also a tangible translation of busy hours the painter fervently dedicated to her creative endeavours, where memories merge with an entangled mesh of countless moments trapped in the cobweb of time. This is how the artists evokes and redeems the burden of past memories: by means of her unique skillful art of painting on canvas.

Lorenzo Canova.

Lorenzo Canova is an associate Professor at Molise University, an Institute where he founded “ARATRO”, which he’s currently running (Archive for Electronic Arts – Laboraty of Contemporary Arts). Among the fields of study he’s regularly committed to, are Modern and Contemporary Art, with particular reference to the Roman fifteenth century period, the second half of the nineteenth century and the latest generations of national and international artists. He’s been the curator of several exhibitions hosted both in public museums and analogous venues. Part of this set of cultural initiatives was designed and brought to fuition in cooperation with Italian Republic Ministry of Foreign Affairs, and is comprised of “Collezione Farnesina” (Farnesina Collection), – with the help of Maurizio Calvesi – “Experimenta”, specifically dedicated to young artists, and “Futuro Italiano” (Italian Future), hosted in the premises of the European Parliament, Bruxelles. Many writings and columns by Lorenzo Canova are regularly syndicated in the newspaper “Avvenire”, and the scholar himself is a member of “Giorgio and Isa de Chirico Foundation” scientific board.