Federica Perazzoli
In my inner self
2022
mixed media on canvas
cm 270x200
The last five minutes of sleep, the moments before fully waking up. You can see the first impressions of the morning glimmer through the images of the remains of dreams. This feeling resonates in Federica Perazzoli's large canvases: the soft and seductive landscapes invite the gaze to reflections on the imaginary spaces we live in.
Environments of intense colors but blurred in their extremities - the result of a combination of acrylic and watercolor - carry your thoughts to places of fairies and myths, drawing an elsewhere that is always within us. Perazzoli's panoramas lie on the border between the most intimate of visions and universal quests, delving into the unconscious and reconstructing the fluidity of primal perceptions. The figures that inhabit her works, free dancing silhouettes, walk on the edges of precipices, under trees poised over the void, searching for something that is different for everyone: ideas of miniature men, could be you and me.
Perazzoli's works create an opening, a keyhole from which to probe the hidden world of dreamlike visions. They are a magical portal.
In my inner self
2022
mixed media on canvas
cm 270x200
The last five minutes of sleep, the moments before fully waking up. You can see the first impressions of the morning glimmer through the images of the remains of dreams. This feeling resonates in Federica Perazzoli's large canvases: the soft and seductive landscapes invite the gaze to reflections on the imaginary spaces we live in.
Environments of intense colors but blurred in their extremities - the result of a combination of acrylic and watercolor - carry your thoughts to places of fairies and myths, drawing an elsewhere that is always within us. Perazzoli's panoramas lie on the border between the most intimate of visions and universal quests, delving into the unconscious and reconstructing the fluidity of primal perceptions. The figures that inhabit her works, free dancing silhouettes, walk on the edges of precipices, under trees poised over the void, searching for something that is different for everyone: ideas of miniature men, could be you and me.
Perazzoli's works create an opening, a keyhole from which to probe the hidden world of dreamlike visions. They are a magical portal.
Daniele Innamorato
Untitled 157
2019
acrylic on canvas
cm 200x160
Impetuousness, chaos, impulse. Daniele Innamorato's canvases don’t want to say anything or represent nothing but energy. His works show themselves for what they are, abstract images, but hide technical secrets that are difficult to guess from the holes and tears that appear to the inquisitive eyes of the observers. Their materiality is reminiscent of the cellophane used by the author in the production process: all that remains of it, though, are outlines and a few lost shreds.
It is complex to give form to the intensity of a gesture, especially when it is less dynamic than it appears. Innamorato's pictorial works are illusions of movement, born of a natural and almost atavistic - necessary - but precise and organized instinctiveness that simultaneously leaves room for action to the unpredictability of its result. After laying down the color and the clingfilm onto it, Innamorato renounces to every claim of control, making way for a final product that is as much his child as it is of accidentality.
Untitled 157
2019
acrylic on canvas
cm 200x160
Impetuousness, chaos, impulse. Daniele Innamorato's canvases don’t want to say anything or represent nothing but energy. His works show themselves for what they are, abstract images, but hide technical secrets that are difficult to guess from the holes and tears that appear to the inquisitive eyes of the observers. Their materiality is reminiscent of the cellophane used by the author in the production process: all that remains of it, though, are outlines and a few lost shreds.
It is complex to give form to the intensity of a gesture, especially when it is less dynamic than it appears. Innamorato's pictorial works are illusions of movement, born of a natural and almost atavistic - necessary - but precise and organized instinctiveness that simultaneously leaves room for action to the unpredictability of its result. After laying down the color and the clingfilm onto it, Innamorato renounces to every claim of control, making way for a final product that is as much his child as it is of accidentality.
Elisa Consentino