JOJO
Sharp signs of digital nature contaminate the entire composition. Scratches and multicolored thunderbolts determine and accentuate the physiognomy of an exuberant and nonchalant face. Sensual lips peep out at the center of the representative space: the rosy softness openly clashes with the above mentioned graffiti. Just above, a gaze veiled by whitish lenses captures the attention. We stare through the opaque lenses of our glasses to catch even a glimpse of gaze. We are not allowed to read the soul of this woman through her eyes, we are helpless and defenseless in front of her expressive power. Yet she observes us, she has the ability to see the physiognomy of our face, the thoughts that spring like flashes from our eyes. Impassive to the sight of anything, the woman portrayed in LA BABY is firmly represented on the pictorial surface. Slight, delicate pinkish brushstrokes cluster toward the center to make up the delicate skin, red cheeks and barely susceptible chiaroscuro. The hair is a mass of multicolored brushstrokes with well-defined borders and again, graphic signs nervously insist on defining the limits of the forms that make up this superb face. Suddenly the physiognomy becomes labile and ethereal. Pinkish and decidedly pop tones give way to an extremely dull and attenuated chromatic palette. The color, earthy and with natural tones, determines chromatic spots that, with the help of the rather acid and strident digital stroke, outline the protagonist of NEW YORK DRAMA CRITIC. The rotation of the head and the slightly raised shoulder give the impression that this woman has been taken by surprise: she has turned around and is now staring at us. Her gaze is hidden by glasses with dark lenses - an element acquired from the real world - yet we can make out the kajal and the dark irises that observe us, impassive and unchanging. The epidermis now has a lunar, diaphanous hue, colored scratches are absent, and the hair, with its orange hue peeps out from a smoky blanket of brown marks. Although the sentiment that animates the composition is at odds with that of LA BABY, there is something recognizable, a part of the face that is clearly identifiable and evident. Like a recurring motif, the mouth makes space for itself among the watercolor. Recognizable are the contours of the lips, the cupid's bow and the glossy lipstick that illuminates the fleshy upper lip. A search for identity that is purely impossible in SEE NO EVIL HEAR NO EVIL. Here distortion is taken to the extreme: there are no more sharp scratches as well as uncertain and delicate spots of color. Now we are faced with something unknown composed of chromatic stains and images that remind us now of a mask, then of a skull, then of a frowning face. Has the identity been lost or perhaps the female figure has revealed herself, making herself visible for what she is? Under those dark glasses has there always been a gaze so deep that it could not even be represented through color? The mouth, leitmotif and red thread of our discourse, is now reduced to a bright pink spot, a blob that expands taking all the space it needs to exist. Lips are always there, aware of capturing our gaze. The difference is that now we can taste them in all their essence, in all their overbearing sensuality.
Art Curator Lisa Galletti