Presentation by Angelo Calabrese
Critical essay written and published brochures, magazines and catalogs, on the occasion of the personal show and performance "Vitartevita" held at Villa Fiorentino di Sorrento (NA), 2006.
Since I have followed her infancy as an artist along those metamorphosis within which the extent of the dimorphic expectations and of the wishes falling outside the unshakable logic are clarified, I have realized that Stefania, investigating about facts involving the different bodies of men and women, transferred into her imagination, real structures of physicality on critical moments which foreshadowed irreversible processes.
She dilated the "spaces" of passions, because they are not included into perimeters, and in those "elastic deformations" she made her ethereal colours evaporate, on the contrary loading the tensions of senses with energetic, progressive and unexpected significance. What is known is certified by definite points, and then lost where the outlines become unfathomable, blurred also indecipherable in the tangles of limbs, discernible in the traces which foreshadowed horizons of rocks and sea, was enlivened by vital ferments.
The visual tactility perceived the surging waves in the inlets, the impulses which consumed within themselves the roar of a shipwreck in the vital chaos.
That painting which looked for the infinite within the finiteness had to reckon with the natural elements involved in their imbalances; they spoke about freedom and necessity, of the general human fate and the peculiarity of feeling which transforms art into poetry.
Dilating imagination meant enlarging the field of perceptions to catch its mental meanings. To this painting experience expressing the insubstantiality of reality which we would like it were immense and perennial, even if we know that the littlest crisis leads to a painful experience, to the encounter with disillusion, a more attracting attention for the revealing "explosions" creating changes would follow.
The man made of flesh and intellect should be able to live his life, to really love his life losing its sense for whom lets himself live. Stefania Sabatino expressed her creativity on the impact with the time of inevitability with the chaos which in her heart has the seed of order and physicality forcing to not renounce hope: she started her way where the future hid its secrets. Who stops his way will never know where the desert hides a precious oasis.
She painted thoughts and passions, shadows and thrills, the prisoner’s ropes and holds, precarious balances and hands, and feet, and figures without faces. She invented colours of lost memory and concrete hope for a fiery hug, she looked for the sense of meetings, of the bare innocence between the sky and the sea, of the music which who plays it looses himself with all the heart of his inner sight.
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