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Paola Tettamanti
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The totally non-iconic
painting by Paola Tettamanti (who is however in secrecy a skilful mimetic
drawer) arises from chromatic impulses, chemical and psychological
affinities: it happens with those who see the reality and look at the
multicoloured, evermoving world (inside and into the eyes).
Made strong by her own invasive (and pervasive) "egology", the
painter from Umbria talks with the empathy of the chromatic clots and
knots, through the synaesthesia which underlines her pictorial texture, so
that, to paraphrase Bergson and his "vital burst", not life but art is a
free and unceasingly, unpredictable creation. Hers
is, indeed, a mental matter, but at the same time an extratextual, elusive
"rational emotion". Her wild shorthand-graphs (abstract fury) do not
celebrate the servile imitation of reality, but its expressionistic
outburst. So that in her feverish (active) painting you do find the whole
space - conquered as a frantic pentagram, counterpointed by acrilic-paint
dripping and sprinkling - nonetheless the whole, i.e. the strictly
"untitled" compositions, are not gesture but mind music.
The various chromatic contrasts, sometimes like symphonies
sometimes like sonatas, which run along the canvas – sign and brushstroke,
spatula and drop – eventually run after one another, interlace, uncoil,
swell in a labyrinth of sounds and segments, style touches and fragments,
phonems and morphems; in short, a sort of pictorial Esperanto made of many
languages. It is no more possible then to
distinguish between the Informal and the Action Painting
atmosphere, which stay at the background, in the DNA of Paola Tettamanti’s
painting. What is clear is therefore that even the
most casual gesture seems – through mysterious ways – to be thought by the
hand which follows (executes) the thinking. Moreover, her painting turns
out as a mystical sense of physical presence, energy struggle, muscle
tone. The artist enters the canvas, rapes it
through colour strokes, non-euclydean stratification, tache and ribbons,
spirals and scribbles. Neither figure nor shape. Nor object. Only colour.
Paola Tettamanti’s painting can be either loved or rejected.
Tertium non datur. |
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