PAINTING-SCULPTURE

NEW COMPARED RESEARCHES: TINA LATTARULO'S PAINTING-SCULPTURE

Painting becomes sculpture; through a sort of alchemy lines, strokes, profiles and tones acquire a two-dimensional quality tending towards the construction of a sizeable relief, becoming pure matter. The golden copper moulded by the artist slowly and gradually turns into composite forms, defined by a stylistic meaning half-way between the informai and the abstract.

The subjects have a common leit motiv: a pair of wings as a Symbol of the author's personal and cultural escape. They are the starting point of the sculptural development of the golden waves, finely carved, which accompany the Constant spatial research, without forgetting the colour supplies enhanced by the continuous matter interventions. The canvas totally disappears; the traditional painting support is replaced by the copper itself which often becomes a glittering mirror revealing the author's hidden psychological introspection.

The copper objects fascinate for their sobriety and Constant brightness; the forms obtained pulse with their own identity, so that they unfold a floating motif with a transcendental character.

The slow flow of the images creates a sort of catharsis which in turn becomes a sort of magic ritual.

Lattarulo's sculptures are surreal and mystical. The spiral dynamics, often created by the mere contortion of the moulded matter, represent the clear wish to escape from the usuai artistic predictability. Some works tose their transparency to give place to rough surfaces, resulting from the studied stamping, which makes the work seemingly ungraceful. This, instead, results from an accurate reflection on the sacrifices and tragedies which characterize individual and universal everyday life. The author's moods become one thing with the world around her. The gestures and thoughts revolving around her works are the synthesis of her personal view of art, conceived as the only and essential reason for living.

The dream and the revealed iconic quality of the subjects treated are the strongholds of a research going beyond the unknown boundaries of imagination. In sail the moulded foils tamely run ashore around circuiar structures on whose tops new forms come to life. The circle of life liven up with new lifeblood, representing, at the same time, the last tile of an endless research.

There are no more boundaries between sculpture and painting, techniques and style turn into a single body enriched by vibrant colours.

Tina Lattarulo's art is always imbued with new fascinations. The "already seen" gives way to sublime and cryptic research, generating new formai languages.

Every moment that is painted or moulded offers the Viewer a myriad of sparks and questions about the destiny of beauty and of its representation and, at the same time, allows the author herself to regenerate in a future speculation, never forgetting its originai informai and abstract context.

 

Luigi Fusco