I watched Maria Rita Vita’s works for the first time about one year ago and at once I was extremely impressed for the strong dynamics of composition that clearly recalls he “action painting” in the use of spatulas and brushes in creating water bubbles, labyrinthine paths and so on; but overall the colours: they are never enough… trying to join themselves… to latch on together…to run after one another…struggling to become the main character of her drawings. The result is similar to a battlefield where the different fighters have their own particular roles but always springing their indipendent power.
Any attempt to lock up the colours inside symbolic bars, even when they loose their early force, fades away and gives up overcoming the desolate white areas where you can glimpse circular movements into transparency symbolizing unsolved passions. Sometimes Maria Rita’s paintings show a prevalence of “Red and Green on Yellow and White “ but this skirmish of colours never disturbs the harmony of the global architecture. Everyone, watching her works can observe this silent struggle among colours to triumph the one over the others. Lines that are often so important in abstract drawings such as in Hans Hartung’s, here, I mean in Marria Rita’s ones, are completely absorbed in an overwhelming whirl of colours. Her paintings show the temporary and fleeting result of a titanic fight between the brightest colours and the faintest ones, the latter always destined to be defeated. And the artist, following the creation pulses through the blend of colours, is forced to tell about the evolution of this never-ending battle. So in this process she becomes herself the destiny strength; the means by which an original and unique creation springs out to portray the victory of a specific and selected champion. To understand better her research we have to keep in mind the Medieval World often represented in drawings on tapestry where every action is entirely developed and tells the short story plot like in “Decamerone”. In fact in all her worls clearly emerges the fear for empty spaces and the artist’s constant struggle to fill this dreaming “horror vacui” with Venus fly-trap flowers, botanic plants and other naturalistic elements in their growing and blossoming process, that is to say, in their striving moment to emerge and keep life and inform the entire world that they are like in a kind of physical explosion of colours. This painting technique can be defined as “action painting” in order to describe better the artist’s pure and creative expression in her physical production and acting. This is the “key” to understand the way in which Maria Rita Vita expresses her existential struggle and the reason why she always draws remainig strongly linked to Nature which suggests her themes and colours that become strictly connected with her palette and her life.
Umberto Vattani is an Ambassador and he is the only Diplomat that was twice appointed General Secretary at Foreign Office In the 2000 he founded the “Collezione Farnesina” in which there are the works of the Great Italian Artists of the first half of the 1900s and a wide documentation on the art of the second part of the same Century. Later as ICE (Overseas Trade Board) President , he arranged important art Exhibions in Beijing, Shanghai, and South America. Nowadays he is President of Italy-Japan and Italy-China Foundations and of VIU (International University of Venice) located in San Servolo island, where he has put works by Arnaldo Pomodoro, Pietro Consagra, Sandro Chia and Fabrizio Plessi. He continues to promote international exchanges on contemporary art. Recent Ehibitions in Venice are on ; Michelangelo Pistoletto ( The Third Paradise), Vettor Pisani, Oliviero Rainaldi, Marco Lodola and other Italian and Foreign artists. More recently he set up Exhibitions on “Waiting for Qing Fen” at “Fondazione Cini” and “ The World of Han Meilin” at Ca’ Foscari University.