POETIC VISIONS and MATERIC BRIGHTNESS - I PART

POETIC VISIONS and MATERIC BRIGHTNESS
(ART AS AESTHETIC DEVELOPER OF HUMAN EXISTENCE)
PART I

 

POETIC VISIONS and MATERIC BRIGHTNESS - II PART

tina lattaruloThe artistical activity of Tina Lattarullo, painter from the Province of Caserta, started during the end of seventies, in the last century, during a period of great and innovative political and idiological changes; those changes not only affected society or economy, but soon, they had conseguences even in the visual arts, improving new artistical lenguages; those lenguages were already decribed by the contemporary critics. The young Tina dicided, in the biginning of her activity, to take some distances from her actual surroundings, she focused her attention on the study of the classical paintings and the contemporary ones too. She moved her interests towards the ‘’Still life’’ genre, trying to find out all the potentiality of its formal and cromatical features, so to learn all the several tecniques and way of expression in the arts. To complete this personal route, our artist  started to observe, under analitical ways, a lots of ‘Still life’ paintings made from the second half of the Seventeenth century to the second half of the Nineteenth century in Italy. These first works of her were not only proofs of her technical capacities, through these first paintings she imposed herself as an autonomous artist, with a personal artistic language, able to give new  solutions during the making of a work of art too. At the same time, during the biginning of her activity, the artist’s in an opposite tendence respet to her contemporary colleagues and their artistic routes, in fashion at that time; the artistical tendences opposite to her personal way of expressions were the Arte Povera (literally ‘’poor art’’), the  Concept Art and the Appropriation Art. Her tendence was to improve the return to the classical tecniques and genres that so great success had durind the past. Always at the same time, this brave deed of her, did not only mean that she refused the contemporary artistic styles, her purpose was to mix the classical lessons with the modern lenguages of artistic expressions. Her painting , slowly, took her toward a new route, unconsciously, she moved in new directions, finding new ways of expression, in which colours and figures became a universe of new formula and shapes. At the end of the stormy seventies, several local artistical moviments finished; painters, sculptors, graphic designers, famous and not, fuond themselves in a period of important changes, in which some of them found new way of expressions and some other disappeared. Who remained on the scene took back classical arts,  reading the old lesson through a modern iconography and strong colours. For Tina Lattarulo the eighties are years of great satisfactions; her studies in the classical arts, her tecnical capacities, and the research of a personal way of expression, took her toward a new direction; in this period she made a great and large production, in these works the features are dreamlike and coloured suggestions. Our artist put herself over the ‘surreal’ and ‘metaphysical’; she starts to show her works to the pubblic, works full of De Chirico’s modules, but olso full of colours and light, coming from a new pictorial force and thanks to which colour and light became real substance. The themes of her paintings are strong images in which the trascendental values come all from the personal and psychological history of the artist. These are years of great maturity and notoriety, but these times are very significant because our artist took a more intimate intellectual awareness of herself, this feelings took her in a new world, a personal world in which artistic market is not so important like in the seventies, but now, for her, but even for the artistic society, the importance is the private feeling of the artist, her wish of finding a personal an autononuos route of free expression; now colours, beauty and universal idias are the main aims of the artist.

tina lattaruloHer works of art and her personality now are one body. This intimate union  made of her an artist of great quality. Her ego became her touch, her hand act, her creative talent and her critical analysis of her own production. Slowly Tina slides to the classical contradiction of all the artists of all the times. ‘’Eros and Thanatos’’, love and death. The rebirth of painting is now able to regenerate from its own ashes. This new research of our artist, on which Tina will work and work on, will bring her to nineties,  a period during which she became so famous that her name will move out from her original province, Caserta. At the same time, she joined several collectives, but now she can finally see her own first exibitions. And now, articles of Giorgio Agnisola, Enzo Baratta, Jolanda Capriglione, Carlo Roberto Sciascia are all dedicated to her activity.

Despite these lucky events, that bring her more and more in to the world of the most important personalities of the artistic lenguages, her wish of renovation doen’t die, rather, it grows so much that soon she will find new ways of possible improvement long the metaphysical style, till her works will become ‘’imaginative’’. Far away from ephemeral connotation, Tina tries to make paintings in which the features are imaginary elements, made of dense colours, human and animal figures and architectural structures, all coming from her imagination and recondite inconscious. Her ancestral memories blend with an idea of fairy beauty, this last idea is tooken from her personal vision of nature full of wonder all around her; every painting seems to be the result of an instintual and hypnotic act. Her painting reaches aulic accents, through a great number of works and all of great quality, high in the strength, of supreme depth; but despite the success got, the ninities finished for her in a disappointing way; togheter with her private and intimate events, she fills her works of melancoly of renaissance memories and her ego is now crossed by a violent condition of conflicts: from the wish to express her own lenguage, now known by all, to her constant deside to experience, the infinite possibilities of pittorical experience is necessary to her to complete her wish of knowledge, and she felt like there is no end to new ideas of art, like it was the only reason of her life.

 

Luigi Fusco, ottobre 2012 .

 

POETIC VISIONS and MATERIC BRIGHTNESS - II PART