Leonardo Lanzolla was born in Torino, Italy in November of 1958.

He received his diploma in communication from the Sommeiller Institute in Torino in 1977. Leonardo also studied at Torino University and frequented the Academy of Drama in Torino, receiving after 3 years, his diploma as a dramatic actor in 1978.
After a year of army service in 1979, Leonardo moved to Rome where he started to act professionally and paint, holding his first fine art exhibit in Rome at “La Lucciola Gallery”.

From then until 1984 Leonardo Lanzolla had several art shows in Italy and France. Lanzolla then decided to move in the United States in 1985.

Leonardo held shows in Los Angeles where he lived his first year, then moved the following year to Billings, Montana where he also practiced his artwork. Since then he has moved again, to Seattle with his wife Renee and their daughter Lucia.

Subject actractor

Alessandro Pitrè
critico d’arte , si occupa delle Politiche Culturali del Comune di Pesaro

“… A deep principle makes everythingunited:  in this time it is called Rità, an untranslatable word related
to the Latin ritus.
[…] in the classic India the name of dharma […] “.
[G. Boccali ‘09]

The mechanism of perception wanted by Mercadante’s work, I say of attention, to developments of Setting and Method here carefully updated (see U. Eco, Lector in fibula, 1983), we notice a setting trace we could even say of pre-existences (meaningful and historicided ) that Monia makes hers.

Furthermore, I have to notice as the potential coldness ( it is not hers absolutely) of the pictorial-graphic conjugation manage to be overcome through the subject’s sensibility (see Donna in vasca da bagno) that are able to be emotional bridge, more than medium, between author and us- the public. “Technical-emotional baggage”, that Mercadante does not say, but she makes evocation painting.
In front of Monia’s painting, it makes evident as the knowing of paint is Art (not only a “good picture”).
So the language (meta-lauguage), that beyond the subject, says of itself and of the knowing.
Moving away from the disciplinary given, I would like to remember some passages of a recent publication about the philosophical  couple (already discussed in the Einaudi Enciclopedia) “One- Many”, from Giuliano Boccali (2009) : “ The “dharma of the real”, in chapter I “ At the beginning was the myth”. This is what one of the Rivenda hymns declaim, evoking the sacrifice of Purusha, the primordial giant (X, 90) (…..) XIII century ac (…) 14- “ The atmosphere was created from his navel; from his head he produced the heaven, from feet the earth; from ears the cardinal points. In this way Gods created the world (see Raccolta Inni Sacri Indiani Riveda, 2000).
Moreover, collecting the Mercadante ideas, the theoretical discuss (and I say disciplinary) of Omar Calabrese  results central and in some way noticed (cfr Semiologia della pittura), as the mathematical  Renè Thorn, in Theory of catastrophes, who aims to the clarification of the resolution of some conflicts between attractors and it is based on a position reports of space and time.
The compositive practice, here as the emanation of his development, goes on spatially.

“…every concept on the threshold of crisis and imbalance, emitting paradoxes and contradictions, through vertigo and ghosts….to harbor of empty spaces’ abstinence, of their sobriety, as new places, completely perceptible….” ( R. Thom).
Definitely, wanted by the word thing, in this work, limits (here of painting of the background) are routes which start from an hypothetical centre (or, always in a linguistic-conceptual cross-reference, in the linguistic sphere of Luce Irigaray (’96).
As if the common territorial origin between the author and her referential master G. Gerardi would find identity in the commune (even if with different modality-typology) in an occasional projection of pictorial encoding on defined and carried out supports. Nevertheless, that, keeping the selected supports, the nature and the primal will of progress.

Doors  (see G. Gerardi) or the photocopy (M. Mercadante Atmosfere cittadine) are not covered (hidden) by painting. Used and as a choice and respect of saying the pre-existence which in this way belong to the author.

Touching the theme of “Parts connection” even signed in their borders, as the common territorial origin between M. Mercadante and the master G. Gerardi, I would reach to report some short abstracts of a comprehensive and articulated writing of Luciano Caramel about the master G. Gerardi not as a form of “appropriation” (pillage or not), but as a general reflection ideas and oriented to the request in observing the methodology as a will and (itself) as poetics. I made some cuts to the text published by Electa not to fold the sense to the presented arguments but to concentrate the comparison on the proposed themes:

“(…)symbols (…), which tie tactically  and syntactically, with letters, numbers and illustrations semantically more determined (…). But maybe here it is the Apulian roots where the oriental spectrum spread and ruled for a long time leaving trace anything but ephemeral (…).” (L. Caramel).
So I would propose some abstracts of a precedent elaboration because they are pertaining to the Mercadante’s work:
“As regard this methodology of meaning I would recall…the Nietsche fragments (without thinking to the extendibility of hypothesis about the post modern of J.F. Lyotard which update past icon, until they become possible fragments of the human (…). The possible extension even of the “Rizoma” of Deleuze and Guattari…different fragments of itself (..).”

“ The man experience in the world of fragmentation, which is the world of mass culture, a “ decline ontology”, that is a conception of being which gives up to attribute all those strong characteristics (the perfect and full presence that Aristotele attributes to God) and that instead it recognizes it – carrying on the Heidegger lesson- more linked to the time, life and rhythm of birth and death” (G. Vattimo ’88) (…).

The efficiency of subjects, which acts through significant projection, puts on the centre of making, to reach a community of matters and languages, for homology of approach and for common methodological applications….(…).
And so on:
Milindapanha is a Zen story that I find extremely pertaining to what I discuss hitherto (and from Mercadante, with her painting) :
“King Milinda came close to the venerable Nagasena. Coming close he talked to him with kind words; after (…), he sat down. The venerable Nagasena returned his favours and King Milinda rejoiced. So he said to the venerable Nagasena “Venerable, what is your name?” “Sire, I am Nagasena. Brothers call me Nagasena. Every name parents give to their sons –Nagasena, Surasena, Virasena or Sihasena- it is just an appellation, a common notion, an appointment, a current use. Nagasena is just a name because no one (puggala) is present here”. So King Milinda said “Deh, listen to me 500 hundreds venerable Greeks (yanaka) and 80000 thousand monks! (…). If you say my brothers, Sire, call me Nagasena, “what does Nagasena mean? Oh Venerable does Nagasena mean hair?” “No, Sire” “Does it mean feet maybe?” “No, Sire”.

Then we read in Vittorio Marchi (’06) and, about the perceptive results of Mercadante’s work and I try to make a connection:
“ (…) through science and knowledge (…) science astronauts of west world and <mentalnauts> of knowledge of oriental world. (…) last discoveries of quantum physics (…).
Fausto Intilla adds (scientific revealer) : “ (…) it does not handle to choice and to share, but to harmonize. «Everything is one. You are the world» so the wises say. Well even the physic principle of absolute symmetry asserts it (….) we are that world (…)” and we connect, with Mercadante, to the Purusha sacrifice (Boccali ’09).

Between chiaroscuro areas and the subjects, perceptively ones (crf Vino in morte e il procedere dell’attrattore cromatico), readable for the perceptive trend to “fulfillment” (Titcher) and from the title which declares that unity.

Ceramics City: Vietri sul Mare, Italy, has shaped a reputation

Most travelers to Italy’s Amalfi Coast ooh and aah their way along the spectacular cliffside drive without ever discovering the pottery paradise of Vietri sul Mare.

Tour guidebooks barely mention Vietri, and those that do fail to note that the town is the origin of those gorgeous dishes, flowerpots, vases and tiles found in restaurants, hotels and homes throughout the Amalfi area.

Vietri sul Mare, or Vietri on the Sea, is the last or first town on the Amalfi Coast, depending on whether you begin at Sorrento or Salerno.

The town likes to call itself “The First Pearl of the Amalfi,” claiming that the Amalfi begins at Vietri, which is just west of Salerno.

the artists’ collections, you can make your floors with your own ideas, your plates with your own ideas.”

A history of quality

Vietri, pronounced vee-AY-tree, has been a ceramics-producing town since the 15th century. Today, there are about 40 “mom and pop” ceramic producers in town, most of which have been handed down through families for generations, along with the techniques,

The tableware dishes are lead-free, dishwasher safe and microwave safe.

VIETRI SUL MARE

The first town we find coming from Salerno is Vietri sul Mare.
The town is built on a little promontory, and on the seaside where we find an impressive Saracena tower.

Vietri was the old town of “Marcina”, built by the Etrurian. Later the Roman conquered it. In fact a Roman thermae and a “murus reticulatum” were found recently by the seaside.

In the middle age Vietri was under the Dukedom of Salerno, later under the Cava Abbey. Only in the XVIII century Vietri began an indipendent municipality.

Places to visit :.

The church of St. Giovanni Battista, with its dome covered with majolic ceramics. Built in the X century, with a wide aisle, on a latin Cross layout.
In the church,we can see an ancient greek Cross, from the XV century.

Other interesting places in Vietri are: Molina, rich of water-mills and Raito, where we find the church of Santa Maria delle Grazie, built in the XVI century, with its frescoes painted by the school of Solimena.

Vietri sul Mare has been producing ceramics since the XV century, its trade was especially with Sicily and Calabria. The decoration of Vietri ceramic, reproduces the typical colours of the coast.

Gerardo Gerardi

Upon first walking into the art gallery of the Church of Saint Peter in Atrio, the movement and emotion of the broad brush strokes on Gerardi’s paintings pulled on me. It was already then in that precise moment ”before I had even had the chance to look at his work up close and personal” the texture-rich imagery of characters and symbols were inviting me to feel them. Dark colors dominated, such as blacks, blues and grays, but it was not limited to this, for other works were again lighter and brighter. Vibrant colors and imagery emerged from all over, but what was consistent in the works was the repetition of characters and symbols.

Numbers, circles, triangles and squares, or hearts, crosses and arrows were painted among the dark and light colors. Some these characters and symbols stood out boldly, as if they were seeking out one’s attention, while others were subtlely placed. Nevertheless, all these presentations invite one to behold their abstract communicative and emotive content. An example of this technique is in “Fascia blu che attraversa la casa di Filippo (1996)”, illustrating a bright strong personality in the characters presented. “Capitello” (1997) appears to illustrate a subtle, even vibrant, emotive treatment of characters. And, yet at other times, the artist has presented it in what appears to be short simple phrases of characters. One can see this in “Cielo sotto sopra”(2000).

I had the pleasure of personally being guided by Gerardi himself as he introduced me to his large collection. Hearing his philosophy of how he creates was for me inspirational. Gerardi explained what kind of art it was, in the meaning of how his technique is best appreciated when some of his paintings are viewed under a certain light. To make his point, he just lifted some of the paintings off the wall and carried them over to the light. The light accentuated the shapes, colors and textures transforming it into a three-dimensional imagery. It was essentially the delicate emotional treatment of ancient characters and symbols. Yet, only twenty minutes earlier, upon walking into the gallery, I had perceived the painting in a different way not at all knowing that the texture was so profoundly communicative.

The textures in Gerardi’s paintings are remarkable. Upon a closer examination of the paintings, in general, one can see how the textures on the paintings are created with what appears to be sand or even something chalky. Some examples indicating this are “Base T” (1996) and “Cielo nero con nuvola”(1998). The rich cultural heritage of the artist’s native Puglia region (Apulia) is quite evident in the paintings. Gerardi’s use of earth and sand from his native Puglia region (Apulian) of Italy, inevitably submits our senses to feeling the imagery, but also its cultural particularity. For it is Gerardi’s actual use of these native Apulian materials that makes one realize how the ancient past will aways in some way be with us, as he said: “it does not matter how old things are, the symbols are the same.” For, Gerardi, it appears to be significant in creating the historical-cultural landscape of characters and symbols in his works.

“Art washes away from the soul the dust of everyday life”

To walk among the Gerardi collection is a constant evolving stimulation, as one could never know what is to be encountered next. Gerardi then introduced me to two large paintings entitled “Al centro del margine” (2000) and “Homo Faber” (2000). These two particular works were hanging directly above the glass floor, located in one section of the gallery. However, before I speak further, one must be aware how the location of Gerardi’s exhibit is in itself remarkable. The original foundation of the Church of San Pietro in Atrio dates back to 100-200 A.D, to the time when the Roman culture inhabited this very region of north Italy.

So, while in one instance I encounter the paintings of this Italian artist, then in another moment my eyes transcend the glass, wandering, and eventually focusing on some images drawn on an ancient Roman wall directly beneath my feet. The experience before me was enchanting, because I could stand back and study the paintings and yet simultaneously look down at the Roman characters and artwork. This artistic repetition, whether in the present or in the past, makes one realize how “the symbols are always there”.

The various paintings in Gerardi’s collection all glow with their own personality. Some interesting ones to reflect on are “Africa 2″ (1996), with its rich colored strokes and shapes of furniture and cultural artifacts. Another one to note is “La coppa di Nestore” (1998), with its dominating blue and black color and hint of antiquity.

Gerardi’s work were on display at the Church of San Pietro in Atrio until 1 October 2006, and were presented again in Spring 2007 in the Como area. Also, in 2007 Gerardi’s collection was shown in Zurich and in Brussels. The Gerardo Gerardi art exhibition was sponsored by: the European Community, Comune di Como, Comune di Foggia, Accademia di Belle Arti di Foggia, and Accademia di Belle Arti di Como.

Gerardi’s “Sentire l’Immagine” ( Feeling the Image) is a celebration of artistic expression spanning forty years from 1960 to 2000.

Gerardi’s “Geografia dell’Anima”  is another celebration of his incredible artistic expression spanning fifty years from 1959 to 2009.

http://www.gerardogerardi.it/

DOWNLOAD  PDF – From ” Il Corriere del Sud”

Viviana Barutti is used to paint listening to new-age music ‘you paint with music because it allows me to internalize a lot of my works I have deleted any reference to man or a place, there are only four elements of earth, air, water , earth and fire, ’says the artist Lombard.

‘I do not care portray the reality as it is but I want to represent as well as I feel like I’ve got in at that particular time,’ continues the artist. And here in one of his sky becomes almost magically, purple. ’Yes indeed as I said before, has never seen a purple sky, but the color purple is a spiritual’ he says.

The titles of his works refer to the moods of the artist, his emotions and his silent meditation. This silence then pierced by a light, almost always central, which is above everything. This image is well depicted in the canvas Silence in 2001, the image is enclosed by trees that almost crossed their tops to form an arch and in the distance the bottom of the pond, shows a white light. Looking at his works, although not defined the landscape seems almost lost in a dream and find yourself in that environment depicted.

Artist Modena that formed artistically long association with the atelier of the painter Tino Pelloni.

His research content and the absolute formal rigor have attracted the attention of critics as Archangels, Barilla, Veronesi and Ruggeri. Numerous exhibitions in Italy, is present in public and private collections.

The works are sometimes violent, because in them is the vigor of the artist, combined with the passionate feelings as death, love. The paintings in this exhibition, we find a new location where water, though perceived, not apparent on the surface. We must look for shapes and folds of material. The colors are soft, just mentioned, sometimes only the most determined. The pursuit of material belongs to his personal style model, transform it.

Eclecticism of Cristina Roncati there was evidence in the recent exhibition held by the artist with a selection of works attributed to different stages of its production in a route back in time. Stood out not only some of the great sculptures in plaster, concrete and clay coated paper, the anatomy slender, carrying accessories, fashion accessories fitted that had slipped under the vaulted hall of the scenic former Sip of the Municipality of Modena. These long-limbed figures. Plant spectacular, are the focus of stylistic maturity of the author, who nell’inesausto experimental style and material has given proof of his versatility in painting (remember that Tino was a pupil of Pelloni, a member of the School of Burano Chiarismo) in graphics, sculpture and jewelry. But the highlight of his creativity is certainly in sculpture. Part of his current artistic research engaging the figures in which the volume is dematerialized in the splendor of gold, in elegant sinuous movements, nell’impalpabilità a structure enlivened by the openness and light, which recalls the high teaching of Medardo Rosso that affect the features of his characters in the name of light, as the protagonist of Impressionism, and especially “Woman Laughing” where he sees an affinity with the latest creations of Christine brilliant, especially the touching “Child” whose elegant modulations of the plastics seem climate symbolist. The “Child” to the interest of Ilario Tamassia sure instinct that reveals not only antiques but also in the choice of artists screening, there will be versions clay.

After an initial production of paintings of the early, sensitive portraits, still lifes of antiquity, Cristina is tempted to sculpture, in three-dimensional accumulation in polymateric, using papers and fabrics, trimmings as it was Hannah Hoech of the Dada movement and with different outcomes , tissue paper and it took Sophie Taueber-Arp, Sonia Belaunay, not forgetting the lyric polymateric Prampolini, which Beguinage. And it’s “Girl of Emilia, a captivates, the sinuous movements of feminine features, barely disguised by the play of tangles and twists of fabrics, papers and pigments, on suspicion of Body Art In the game model of solids and voids, there is in the signs, the traces of the negative adorned a plastic research, albeit with a medium soft.

Cristina painful fashion figures, cloaked in black in a cupio dissolve, signed by unnecessary waiting, veiled female figures, which recall the Lamentation of Nicholas Ark, Mazzoni and Begarelli for their outstanding scenic vocation, nell’impaginare these players locked by trauma in a gesture touched in a painful rigidity of great dramatic effect as if they were figures of a choral Miracle Play.

In another stylistic phase, Cristina celebrates the glories of the cycle of seasons, translating into wreaths of flowers, the riot of spring was the splendor of summer in a dazzling triumph of corn and flowers, brilliant; onusta the flavor of fruit, to symbolize fall and a pin inserted in an equation of acorona rough branches, to express the icy harshness and nakedness of winter. These works had a dual version, fabric and gilt bronze.

The artist is also dedicated to represent Ladies and knights, spectacular planting of great originality, which mysteriously shrouded parade, concealing the identity of tangles behind veils and draperies.

And it’s Knight, exhausted by repeated tests of initiation, has made a Nekja, a descent into hell the other by itself, the shady side of consciousness, could be one of the knights of the Grail hero or tournaments.

But above all the female figures are the protagonists of the adventure style of Cristina, symbolically hidden from view behind a curtain, a veil, behind a door or racchinandosi discreet presence in the carriage, or a scenic bay, as Maddalena in ‘cabinet, which was brutally dismantled, as they did, erasing the writings of Duchamp’s door at the Venice Biennale. A separate chapter, for those who voluntarily or spasm, causing damage and deplorable acts of vandalism, in addition to damage from weather and neglect. Nihil novi sub sun, but they seem to modern diseases, such as the “Stendhal syndrome” or who causes insult to art, such as Night Watch and the Pietà by Michelangelo, and an episode of stupidity pecoreccia one in which some ignorant and fools have mutilated the Bernini fountain in Piazza Navona, cavandosela with a slight penalty that is an invitation to repeat such damages.

Christina, with incessant experimentation, has a repertory shaped plastic clay, ceramic, earthenware, porcelain, a highly refined medium, which shape the Castellane and Castles of the oath, alternating hot tactile physicality of the material to the icy clay fiberglass, textile installations intended as “souls” of plastic structures.

He then dedicated to scenic installations, using the dramatic contrast between primary colors, hot flashes of purple light up the mantle of the Devil, which alternates the pitch-black masking his features, betraying Dalo goat’s hoof, while emanating a pungent aroma of sulfur, this disturbing hell.

And ‘ascribed to the subsequent production of a repertoire Cristina plastic, mostly clay coated paper, ceramics and porcelain, and to remove the insignia of royalty, carefully aligned to the scepter, the throne, together with figures, exemplified expressionistically, reduced volumes graphically vibrant, some of which are records of old plastic modulations, although their features are stylized and put on display in the drapery, the torsion displacement, lithe limbs in the modeled animated movements translated into elegant, accentuated Dalo momentum of action mentioned progressive technical and stylistic refinement, establish a range of pottery pieces, elegantly shaped, seem inspired by the story, and here is a shoe-fetish, Cinderella, porcelain, craters from the cavity by craquelure animated, cleverly arranged radially in a variety of pigments from the snow-white plates, sinuously jagged or small volumes are subjected to twisting wise, soaked soft-candy pink.

But the love of Life-size sculpture prevails, included in a habitat voluptuously symbolist.

And remove the statues from the stylized stylized structures, the impeccable posture, from a mannequin, even if the clothes are impalpable veils from ripples, these slender figures are equipped with tiny fashion accessories, although the anatomy seems Hellenistic, a hint of drapery fluting.

In the most recent production, Cristina tireless experimentation, with special effects, accentuated by the fineness of the texture in a miraculous outpouring of tawny, which simulates the radiance of gold. Moreover, even the ancient sculptures were multi-colored, soft to the curved shaped, reminiscent of the soft anatomy of the sinuous sculpture Symbolist and Art-Deco, by the grace of exciting movements.

The clay sculptures of Cristina Roncati have stylistic affinities with the elegant figure of the glorious season Symbolist, Art Nouveau, Art Deco Faenza, whose members are grandparents, offspring, who reached sophistication in particular shines, as Melandri, in tune with the temper of the Viennese Secession .

For the model slightly, the drapery barely perceptible, the modeling vibrant, Christina pulls out an air safe, creative, a spectacular taste, which paginates volumes and slightly sinuous, like the stylized figures of Donatello is a solemn, subdued elegance.

Carlo Barbieri has developed synthetic landscapes, post-impressionistic, vibrating with an air cast, with a ductus sinuous, translating, darting in fragments, from landscapes seen in scans strongly layouts. The color range is lively, muffled by a chalky base. Barbieri prefers a warm red-brick, to translate views, synthetic short style, the color you have backgrounds in sized, the angularity of the desired composition gives a sense of motility.

In a nutshell symbolism, the red flower, curvilinear contours, but the variety is not identifiable and can not be counted in the schedules of Linnaeus, it falls in parallel botany Leo Lionni, where species that are transfigured into fantasy and dream.

Dell’eclettismo di cristina Roncati si è avuta riprova nella recente mostra tenuta dall’artista con una scelta di opere ascrivibili a diverse fasi della sua produzione, in un itinerario a ritroso nel tempo. Non solo spiccavano alcune delle grandi sculture in gesso, cemento e terracotta patinata, dall’anatomia slanciata, munite di accessori, munite di accessori di moda che avevano sfilato sotto le volte della scenografica sala ex-Sip del Comune di Modena. Queste figure longilinee. d’impianto scenografico, sono il fulcro della maturità stilistica dell’autrice, che nell’inesausto sperimentalismo stilistico e materico ha dato riprova della sua poliedricità in pittura (non dimentichiamo che era allieva di Tino Pelloni, esponente del Chiarismo della Scuola di Burano) in grafica, scultura e oreficeria. Ma il clou della sua creatività si ha sicuramente in scultura. Fanno parte della sua attuale ricerca artistica le avvincenti figure in cui il volume si smaterializza nel fulgore dell’oro, in eleganti movenze sinuose, nell’impalpabilità di una struttura vivificata dalla trasparenza e dalla luce, che rammenta l’alto magistero di Medardo Rosso, che intaccava le fattezze dei suoi personaggi all’insegna della luce, come protagonista dell’impressionismo, ed è sopratutto “Donna che ride” dove si ravvisa un’affinità con le ultime creazioni fulgide di Cristina, sopratutto quella toccante “Bambina” le cui eleganti modulazioni plastiche sembrano della temperie simbolista. Della “Bambina”, per l’interessamento di Ilario Tamassia che rivela sicuro fiuto non solo nell’antiquariato, ma anche nella scelta di artisti di vaglio, si avranno versioni fittili.

Dopo una prima produzione pittorica degli esordi, sensibili ritratti, nature morte di sapore antico, Cristina è in tentazione di scultura, negli accumuli tridimensionali, nei polimaterici, che impiegano carte e stoffe, passamanerie come già faceva Hannah Hoech del movimento Dada e con diversi esiti , impiegarono carte e tessuti Sophie Taueber-Arp, Sonia Belaunay, senza dimenticare i lirici polimaterici di Prampolini, quale Beguinage. Ed è “Ragazza d’Emilia”, ad avvincerci, per la sinuosità delle movenze di fattezze muliebri, dissimulate appena dal gioco di viluppi e torsioni di tessuti, carte e pigmenti, in sospetto di Body Art. Nel gioco plastico di pieni e vuoti, si avverte nei segni, nelle tracce del negativo adorno, una ricerca plastica, sia pure con un medium soft.

Cristina foggia figure dolenti, ammantate di nero in un cupio dissolvi, siglato da inutile attesa, figure muliebri velate, che rammentano i Compianti di Niccolò Dell’Arca, Mazzoni e Begarelli, per la loro spiccata vocazione scenografica, nell’impaginare queste protagoniste, bloccate da un trauma in un gesto accennato, in una fissità dolorosa di grande efficacia drammatica come se fossero figure corali di un Miracle Play.

In un’altra fase stilistica, Cristina celebra i fasti della ciclicità delle stagioni, traducendo in serti di fiori il tripudio della Primavera, il fulgore abbacinante dell’estate in trionfi di spighe e fiori, smaglianti; l’onusta sapidità di frutti, per simboleggiare l’autunno e un acorona di spine inserite in un’equazione scabra di rami, per esprimere l’algida crudezza e nudità dell’inverno. Queste opere avevano una duplice versione, in tessuto dorato e in bronzo.

L’artista si dedica poi a raffigurare Dame e Cavalieri, d’impianto scenografico, di grande originalità, che sfilano misteriosamente ammantati, celando l’identità dietro viluppi di veli e panneggiamenti.

Ed è il Cavaliere, stremato da reiterate prove di iniziazione, ha compiuto una Nekja, una discesa agli inferi dell’altro da sè, nel versante in ombra della coscienza, potrebbe essere uno dei cavalieri del Graal o protagonista dei tornei.

Ma son soprattutto le figure femminili le protagoniste dell’avventura stilistica di Cristina, celate simbolicamente alla vista, dietro un drappo, un velo, racchinandosi dietro un’anta o discrete presenze all’interno della Carrozza, o in un vano scenografico, come Maddalena nell’armadio, che fu brutalmente smantellata, come avevano fatto, cancellando le scritte della porta di Duchamp alla Biennale di Venezia. Un capitolo a parte, per coloro che volontariamente o per raptus, arrecano danni o deplorevoli atti di vandalismo, oltre ai danni arrecati dall’incuria e dal tempo. Nihil sub sole novi, ma sembrano moderni fenomeni patologici, come la “sindrome di stendhal” o chi arrechi insulto ad opere d’arte, quali la Ronda di notte e la Pietà di Michelangelo, mentre un episodio di pecoreccia stupidità quello in cui alcuni ignoranti e cretini hanno mutilato la fontana del Bernini a Piazza Navona, cavandosela con una pena lieve che è un invito a ripetere danni analoghi.

Cristina, con incessante sperimentalismo, ha plasmato un repertorio plastico fittile, in ceramica, terracotta, porcellana, un raffinatissimo medium, con cui foggia le Castellane e i Castelli del giuramento, alternando la calda corporeità tattile del materiale fittile alla algida vetroresina, installazioni tessili intese come “anime” di strutture plastiche.

Si dedica poi ad installazioni scenografiche, ricorrendo al contrasto drammatico tra colori primari; vampate purpuree accendono di bagliori il mantello del Diavolo, cui s’alterna il nero-pece che maschera le fattezze, tradite dalo zoccolo caprino, mentre si sprigiona un acre sentore di zolfo, di questo inquietante inferno.

E’ ascrivibile alla successiva produzione di Cristina un repertorio plastico, per lo più  in terracotta patinata, ceramica e porcellana; e sono le insegne della regalità a sfilare, diligentemente allineate allo scettro, il trono, insieme a figure, espressionisticamente esemplificate, ridotte a volumi icasticamente vibranti, in alcune delle quali si registra di antiche modulazioni plastiche, anche se le loro fattezze sono stilizzate e mettono in mostra nei panneggiamenti, nelle torsioni volumetriche, le membra flessuose nel modellato animato tradotte in movenze eleganti, accentuate dalo slancio del gesto accennato in progressivo affinamento tecnico-stilistico, elabora una gamma di esemplari fittili, foggiati con eleganza, sembrano ispirarsi alla fiaba, ed ecco una scarpetta-feticcio, di Cenerentola, in porcellana, i crateri dalla cavità animata dalla craquelure, sapientemente disposta a raggiera, in una varietà di pigmenti dal niveo candore di piatti, sinuosamente frastagliati, oppure sono esigui volumi, sottoposti a sapienti torsioni, intrisi di tenero rosa-confetto.

Ma l’amore di scultura Life-size prevale, inserita in un habitat voluttuosamente simbolista.

E sfilano le stilizzate statue dalle strutture stilizzate, il portamento impeccabile, da mannequin, anche se gli abiti sono veli dalle impalpabili increspature, queste figure slanciate sono munite di minuscoli accessori di moda, anche se l’anatomia sembra ellenistica, in un accenno di panneggiamento flautato.

Nella più recente produzione, Cristina con inesausto sperimentalismo, con effetti scenografici, accentuati dalla finezza della texture, in un miracolo di fulva effusione, che simula il fulgore dell’oro. Del resto anche le sculture antiche erano policrome, per la morbidezza curvilinea del modellato, ricorda le tenui sinuosità delle anatomie della scultura simbolista e Art-Deco, per la grazia avvincente delle movenze.

Le sculture fittili di Cristina Roncati presentano affinità stilistiche con le eleganti figurazioni della gloriosa stagione simbolista, Liberty, Art Deco faentina, i cui esponenti sono nonni, rampolli, che raggiunsero particolare raffinatezza nei lustri, come Melandri, in sintonia con la temperie della Secessione viennese.

Per il modellato lieve, il panneggiamento appena percettibile, il modellato vibrante, Cristina sfodera un piglio sicuro, inventiva, un gusto scenografico, con cui impagina volumi sinuosi e lievi, come le stilizzate figure di Donatello, di ieratica, pacata eleganza.

Carlo Barbieri ha elaborato paesaggi sintetici, post-impressionistici, espressi con piglio vibrante, con un ductus dall’andamento sinuoso, traducendo, in lacerti guizzanti, paesaggi visti dall’alto, in scansioni saldamente impaginate. La gamma cromatica è vivace, attutita da una base gessosa. Barbieri predilige un caldo rosso-mattone, per tradurre scorci sintetici, in abbreviazione stilistica; il colore si dispone in campiture calibrate; le angolosità volute della composizione conferiscono senso di motilità.

Di estrema sintesi simbolista, il fiore rosso, dai contorni curvilinei, ma la varietà non è identificabile e non si potrebbe annoverare nelle schede di Linneo, rientrando invece, nella botanica parallela di Leo Lionni, in cui fioriscano specie che si trasfigurano nella fantasia e nel sogno.