Fiorella's paintings do not seek direct contact with reality, they do not correspond to extreme syntheses of the real visual datum, but are simply states of mind and emotions expressed in the face of the history of certain places, the human spiritual drama of certain people and the encounter with that light which is able to restore the original calm and put everything back in its place. Her colours are dense, intense, brilliant and in some cases impertinent when they replace shapes. The material is structured through colours that often take consistency directly from the painter's hands. The result is a slow but constant vortex, a continuous centripetal motion that hypnotises and captures the attention on what the human eye, alone, could never encounter. 

 

Fiorella's surfaces are meeting places and stages for events: space is always an active element and the background dialogues and interacts directly with light. The result is compositions that do not necessarily have to represent the artist's thoughts, but bring her own suggestions into direct contact with the user's emotions and have a subjective relationship with each of them. Light is the structuring element in Fiorella's paintings: not an academic glow that regulates the harmony of the structure, but a chromatic ignition that develops in the heart of the material and makes each of her works contemplative.

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Her works cannot be explained, her sculptures should not be interpreted: Fiorella's art should simply be participated in and experienced. Only then can we perceive the magic that leads every child, just as it did every pilgrim, to still believe in dreams and conscious illusions.  Mysteries of life.  Strength of light and faith when we believe in what we do.

 

Maurizio Vanni

museologist, historian, art critic