Exhibitions, Italy, Latina, 09 June 2018
The ROMBERG Arte Contemporanea inaugurates a new exhibition project conceived and built exclusively for the Latina centre by Marika Vicari, entitled Lo sguardo in cammino (A glance while walking).
Narrow overview, a stretching perspective, an elongated horizon... the drawing on the panel takes on the film like nature of cinemascope in order to move the painting onto the plane of enveloping rituals, bringing forth the renaissance emotion of an all immersing narration, extending the nature of the ideal landscape to the present time. Marika Vicari sutures the different panels to recreate the centrifugal feeling of the journey from stillness, elaborating a scaled geography that transforms the gallery into a fascinating dream room.
The set of panels makes up a unique story in which distinct points of view are recognized, underlined by the background and the grains of the wood - straw yellow poplar - and highlighted by the sporadic presence of colour (watercolour and pastels) in addition to graphite. The large bench-painting with the leaves helps to generate a mixture of tension and empathy: it welcomes the viewer with impact and envelops him in this anomalous wood somewhere between plausible truth and real fiction.
The artist says: "If the landscape before us is a system of signs, what does the eye catch? The answers lie inside the places that are questioned and in the way in which we relate with the woods. In the encounter between the physical eye (mine and that of the spectator) and the mental image that I recreate in my paintings, this is where my (and maybe other people's) being inside the landscape comes from. All this is generated by the pleasure of walking (sometimes physical, others times more mental...), seeing the journey as an instrument of aesthetic exploration in a search for identity, in opposition to the present disfigured image of the Earth..."
Lo sguardo in cammino (A glance while walking) blends together, in a graphic installation of Japanese softness, the western daughter of a Hiroshige with his nineteenth-century writings, steeped in legends and everyday life. A fluid filiation that shows the expressive potential of graphite, the universal nature of a pencil which is the synthetic language of the evolved present.
Narrow overview, a stretching perspective, an elongated horizon... the drawing on the panel takes on the film like nature of cinemascope in order to move the painting onto the plane of enveloping rituals, bringing forth the renaissance emotion of an all immersing narration, extending the nature of the ideal landscape to the present time. Marika Vicari sutures the different panels to recreate the centrifugal feeling of the journey from stillness, elaborating a scaled geography that transforms the gallery into a fascinating dream room.
The set of panels makes up a unique story in which distinct points of view are recognized, underlined by the background and the grains of the wood - straw yellow poplar - and highlighted by the sporadic presence of colour (watercolour and pastels) in addition to graphite. The large bench-painting with the leaves helps to generate a mixture of tension and empathy: it welcomes the viewer with impact and envelops him in this anomalous wood somewhere between plausible truth and real fiction.
The artist says: "If the landscape before us is a system of signs, what does the eye catch? The answers lie inside the places that are questioned and in the way in which we relate with the woods. In the encounter between the physical eye (mine and that of the spectator) and the mental image that I recreate in my paintings, this is where my (and maybe other people's) being inside the landscape comes from. All this is generated by the pleasure of walking (sometimes physical, others times more mental...), seeing the journey as an instrument of aesthetic exploration in a search for identity, in opposition to the present disfigured image of the Earth..."
Lo sguardo in cammino (A glance while walking) blends together, in a graphic installation of Japanese softness, the western daughter of a Hiroshige with his nineteenth-century writings, steeped in legends and everyday life. A fluid filiation that shows the expressive potential of graphite, the universal nature of a pencil which is the synthetic language of the evolved present.
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