Lucrezia: the seasons of art

“Ja Pishu Kartin; I write with the paintings ”

Lucrezia’s artistic journey is a cycle, a succession of seasons.

Her research began during the studies at Brera’s Academy of Fine Arts, in which she observed some object of magical thought: talismans, amulets, ex voto. They are artifacts of common use, imbued with spirituality and sacredness, which for Lucrezia, as an artist, are linked to a faith of a secular nature.

The question that arises from the analysis is significant and mysterious: when is an object sacred without being religious?

“Through my work I try to respond to issues; or I try to ask viewers for questions”

This question led the artist along a pilgrimage in search of the duality of presence and absence, which led her to travel far away, through the symbolism of Russian culture, where her encounter with iconography took place. The religiosity and sacredness of artistic style and icons have marked a focal point for the investigation: a connection between religion (abundance and presence) and sacredness (absence and elevation).

The iconography is the writing of the image, performed in the artistic field through the symbol; a painted or drawn sign that manifests itself at the moment of the act. Consequently art, as written, is associated with a definite grammar, which allows its interpretation. According to Lucrezia the study of grammar is the key to understanding art: the works do not speak but it is possible to accustom the senses to grasp their meaning by understanding the syntax.

“Through the grammar of art I like to see how everything comes back: The origins of things and how we relate to them today. It is a historical research that I do between presence and absence, between past and present. “

These elements have accompanied Lucrezia through her journey and towards the second season of her artistic cycle, to explore more deeply the duality and understand the true task of art: the evocation.

Duality is represented by the intangible encounter between presence and absence. An agreement of entities that is expressed in art and also in other disciplines such as photography: the imperceptible point that divides tangible and intangible. However, art finds stability in education, in the perception of labile balance between the two essences. The balance is perceptible in the representation of a flower: a rose will not be painted as the perfect reproduction of the real, but its artistic representation will instead try to evoke its freshness, perfume, and beauty.

“When I combine the points I like to turn around, and from the finish, look at the start. It is fascinating to see how far the human mind can go. “

The link is visible in every artistic style and Lucrezia investigates its origin beyond the superficial layer. From rock carvings, to the Renaissance, to contemporary art. Therefore a historical research takes place between past and present, a survey on the evolution of interpretation. The displacement and the fear that were once shown through monsters, chimeras and supernatural entities, are today represented through the exploration of the human soul with contemporary art.

“The works of art can never be started and finished. Spolvero is an arrival but also the departure for a new exploration “

Like art in history, the artist’s journey is also part of a process beyond the limits of the beginning and the end, a constant investigation into the search for truth.

Spolvero is a lunar phase in the succession of Lucrezia’s seasons, a point that arises from the encounter with Andrea, the other protagonist face. In the combination of duality of the elements, the artist’s own work represents an arrival but also a departure, to explore art through a new point of view, that originates at the crossroads between art, technology and passion.