the preface of
Sisters (Sorelle mie)
point of tangency between painting and poetry is born from the
possibility of evoking a portrait, albeit distant and symbolic,
and to bring to the surface fragments of features destined to
break up on empty white sheets of paper. The “words” pouring
from the images are seized by the dictionary of history and turned
into a continuous flow of Art Nouveau cadences; Cinderella cites
“The boy bitten by the lizard”, the Canovian Julia shows off
the exasperated turgidness of her lips, Cleopatra and Lucrezia
find Klimtian evocations in the contrast between the photographic
illusionism of the face and the flat decorativism of hair styles,
mediated through the mis-en-scène of the posters by Mucha.
Elsewhere the sketchings seem to bring back Durerian memories.
However, the focus of these loose pieces is the persistent study
into the details of a few significant elements (the mouth, the
hands, the face). They grasp the attention of the spectator for
their centrality, for their eye-catching plasticity, for their
sensual exhibitionism. These, however, are destined to undergo a
process of metamorphosis, to lose their physicality and to take on
different forms of matter, to blend in the shade and to disappear.
And thus the sketch follows poetry into the secret alchemy of