criticism

I sometimes find myself lingering in front of the PC with the virtual pages of your website open.

I'd say it is always a cherished moment. Your approach, free from the stingy lucubrations that are so dear to official contemporary art, places me in a contemplative and meditative dimension. I then put on my Pagoda hat so that my mind can be as penetrating as the conical shape that covers it.

During these meditations I am able to recognize both the commonality and the difference of your creative processes, or at least those of the emotions that your graceful simulacra imprint upon my soul.

Elena's is a oneiric and lyrical dimension that she conquers through a tension of the form toward the abstract. Her simulacra lie on a plane that refers to reality from very far away - as far away as the sea in "Da qui si vede il mare".

Simona participates of a dreamlike dimension as well, but her simulacra lie on a plane that intersects and interferes with reality. I'd rather say that Simona wounds reality by ripping its oneirical bottom, in the same way as Apollo skinned Marsia. Although Elena is not exempt from violence - I don't know who would lightheartedly grab her self-portrait bristling with needles and scissors - it is, however, a lyricized, perhaps epic violence. Simona's is instead a violence that acts in a direct and sensual manner. I am, of course, talking about aesthetic violence, a violence of sensation.

This violence that I recognize in your creations does not have a negative connotation at all. It is akin to the potency of Russian or Tuareg tales. It gives me joy to be able to feel this in a world that ascribes to childhood a trite and benevolent Disneyesque brainlessness.

Yours,
Federoti Vivalano