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Codice Rosso,
2019
Lorena Fonsato
Painting : acrylic
50 x 70 x 2 cm 19.7 x 27.6 x 0.8 inch
$636
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
50 x 70 x 2 cm 19.7 x 27.6 x 0.8 inch Height x Width x Depth
Support
Framing
Not framed
About the seller
MoBe Art Gallery Art Collector • Italy
Artsper seller since 2017
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This seller rewards your purchases of multiple artworks
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L'eco delle piume Tutto ciò che sfiora resta.
Lorena Fonsato
Painting - 70 x 70 x 2 cm Painting - 27.6 x 27.6 x 0.8 inch
$670
Presentation
Lorena Fonsato, born in 1975 in Vercelli, where she lives and works, attended the Institute of Fine Arts in her city, then graduating in painting with honors from the Albertina Academy in Turin. Currently art teacher.
Behind him a career of about twenty years full of professional gratifications.
The pictorial language of Lorena Fonsato is in fact the result of a personal selection of stylistic values at the base of which are the great pictorial movements of the nineteenth century, assimilated through the years of academic studies and reinterpreted in a personal key in the figurative installation and 'chromatic impasto of the early works, but also the suggestions of the artistic avant-gardes of the twentieth century, from Kandinsky to Deulainay, from Licini to kinetic art, all relived in the light of a sensitivity careful to grasp the essence of art, beyond of the transience of things that art intends to represent.
Nature is a constant source of inspiration for her, a sort of common thread on which the different phases of her pictorial experimentation are unraveled and modulated, and on which she has been able to construct her own expressive figure, landing, especially in the most recent works. a progressive reduction of the objective datum to the essential elements that compose it, lines, shapes, colors, that intertwine and interpenetrate in a compositional order that is never casual, but always harmonious and rational.
The complete abandonment to fantasy in abstract works is thus identified with the search for a balance that establishes rationality and imagination, a language that questions the origin of the universe and the mysterious forces that animate it, as evidenced by the latest works, which they make explicit reference in their titration to the birth of the universe and to the preciousness of the planet earth.
In abstract works, the geometric forms that constitute the lexemes of pictorial language are repeated and multiplied as in a play of mirrors, they shatter and overlap to create effects of greater and lesser chromatic intensity and now evoke the origin of life, in the moment in which the manifold emanates from the indistinct, now the birth of the sun that rotates on itself in a vortex of light, attracting to itself the other planets and forcing them into perfect circular orbits; in these paintings the thousand iridescent pieces that make up the celestial inlay seem to project on the plane of the infinite an entirely individual need of order, harmony, inner balance, in which the contrasts fade and the dynamic thrusts cancel each other, composing in a final picture of quiet, perhaps, only apparent.
The personal research of Lorena Fonsato finally arrives at the discovery of a sort of universal language that, through personal symbolic codes, manages to capture and reveal the most secret aspects of nature, but within which the sign, attentive , precise, almost calligraphic, it expands and is lost in the fluid changeability of color and the technique always manages to turn into authentic emotion.
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Behind him a career of about twenty years full of professional gratifications.
The pictorial language of Lorena Fonsato is in fact the result of a personal selection of stylistic values at the base of which are the great pictorial movements of the nineteenth century, assimilated through the years of academic studies and reinterpreted in a personal key in the figurative installation and 'chromatic impasto of the early works, but also the suggestions of the artistic avant-gardes of the twentieth century, from Kandinsky to Deulainay, from Licini to kinetic art, all relived in the light of a sensitivity careful to grasp the essence of art, beyond of the transience of things that art intends to represent.
Nature is a constant source of inspiration for her, a sort of common thread on which the different phases of her pictorial experimentation are unraveled and modulated, and on which she has been able to construct her own expressive figure, landing, especially in the most recent works. a progressive reduction of the objective datum to the essential elements that compose it, lines, shapes, colors, that intertwine and interpenetrate in a compositional order that is never casual, but always harmonious and rational.
The complete abandonment to fantasy in abstract works is thus identified with the search for a balance that establishes rationality and imagination, a language that questions the origin of the universe and the mysterious forces that animate it, as evidenced by the latest works, which they make explicit reference in their titration to the birth of the universe and to the preciousness of the planet earth.
In abstract works, the geometric forms that constitute the lexemes of pictorial language are repeated and multiplied as in a play of mirrors, they shatter and overlap to create effects of greater and lesser chromatic intensity and now evoke the origin of life, in the moment in which the manifold emanates from the indistinct, now the birth of the sun that rotates on itself in a vortex of light, attracting to itself the other planets and forcing them into perfect circular orbits; in these paintings the thousand iridescent pieces that make up the celestial inlay seem to project on the plane of the infinite an entirely individual need of order, harmony, inner balance, in which the contrasts fade and the dynamic thrusts cancel each other, composing in a final picture of quiet, perhaps, only apparent.
The personal research of Lorena Fonsato finally arrives at the discovery of a sort of universal language that, through personal symbolic codes, manages to capture and reveal the most secret aspects of nature, but within which the sign, attentive , precise, almost calligraphic, it expands and is lost in the fluid changeability of color and the technique always manages to turn into authentic emotion.
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