ROSALBA ARCILLA
LINO TARDIA (Reseña 1)
Rosalba Arcilla busca, en la pintura, apropiarse de un espacio para ponerle el alma. El lienzo, para ella, es el punto de encuentro de la realidad de su mundo interior con el mundo exterior. Conoce los límites de la pintura y, por lo tanto, conoce la pintura.
Su pintura es un continuo empezar de cero; una continua metamorfosis y una continua renovación. No le importa saber lo que ocurre; pero le basta no dejar este juego.
La modernidad de las formas que ella crea, concebidas al abrigo de la acuciante actualidad, se reconoce en la libertad con la que se transfiguran en la realidad, resucitan del sueño: criaturas que reemergen en la conciencia absorbiendo los impredecibles temperamentos de la psique.
Una simbología sutil, resultado de una análisis interior llevado al límite de lo imaginario, sintética y expresiva. Efectos emocionalmente muy frágiles y de rara consistencia poética.
Lino Tardia*, Roma 2005
LINO TARDIA (Reseña 2)
Rosalba encuentra en la materia una gama tonal refinadísima. Los colores se subliman en una dimensión etérea y persuasiva.
Los matices se degradan de un color a otro de manera refinada y armoniosa.
La ejecución rigurosa genera afinidades formales, cultas convergencias expresivas, rigurosas racionalidades figurativas, unidas a un profundísimo y evocativo lirismo representativo.
Rosalba coloca sus figuras en un estado de suspensión material-temporal, como si deseara ir más allá de los límites de la experiencia humana para llegar al significativo profundo del ser y descubrir el alma secreta.
Su señal inequívoca es refinadísima, su gesto es sensible, intenso, vibrante de vida y luz.
Lino Tardia
Mayo de 2012
Esta reseña se basa en Imágenes Desnudos 2012 and Figurative Series ii.
Review Kristina Piwecki
A refreshing, trendy exhibition of works by the artist Rosalba Arcilla will be on show in the KELLER GALLERY, Selnaustr. 15, 8001 Zurich, until 26. September 2009.
The body of her latest images stem from a graphic, aesthetic momentum, which guides the gaze to a harmonious, roaming system of lines. The feminine silhouette as a striking abstract figure, captured individually or in groups, is her declared theme.
The generous and striking contours have rhythm and encompass a finely balanced web of relationships between the individual figures. Matisse and Modigliani are the distant, guiding force and emit vital impulses. But what is unique about Rosalba Arcilla’s artistic style? On the one hand, the bold sweeping lines as a dynamic inner structure are exciting and a positive aura is achieved through the contrasting colour play. The bodies reduced to cubic volumes have nothing static about them. All of the figures have a dance-like grace, which hints at their motions beyond the picture frame. It is a pulsating and stirring game of figures leading to more and more new images. The theme of flowing shapes combined with opaque and various layers of colour have an almost suggestive effect on the viewer. The artist’s Mediterranean temperament is unmistakable and is rooted in her Spanish heritage. The expressive shape goes hand in hand with the obvious joy of experimenting with attractive surfaces consisting of individual, clever layers of paint. Thanks to a complicated mixing technique or materiale nuova, metallic reflections are achieved in gold, silver and bronze giving her images an individual depth. Using her own formula, a modelling material is produced which is shaped to a relief-like structure on the canvas. The leaves applied in gold, silver and bronze are burnt and carefully polished and a finish of pigment powder allows the surface of the material to develop its mysterious luminosity. Rosalba Arcilla is a student of the gold medallist decorated Sicilian artist Lino Tardia in whose studio she expanded and refined her artistic forms of expression and techniques.
Kristina Piwecki is a Germanist, art historian and editor BR. She is a lecturer in art history and study trip guide.
This review is in relation to my figurative painting in Series I
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