Those fleeting Moments
She interprets the constant becoming of the world
IN HER PAINTINGS THERE ARE
DIFFUSED LIGHTS AND DIAPHANOUS VIEWS
Let’s start by clarifying that Nadia Fanelli’s painting is not superficial. This premise is necessary to avoid an artistic image that rests on elements that critics have already explored and the artist has widely overcome; these include that essentially visual stylistic expression that, in her work, refers to the evanescent, impalpable, illusory and perceptibly liquid universe that surrounds her figures and landscapes.
A FASCINATING, ILLUSORY UNIVERSE
WHERE FIGURES AND CHARACTERS
It should be pointed out that there is also some distance from that nostalgic relationship critics have sometimes observed between artistic subjects and the artist’s memories. We are talking about a recognisable past, an emotional (pop) impression that is tied to the moment when it occurred, and for which the diffused light of a diaphanous view becomes the certainty of pleasant, understandable art, without accents or anything more.
Because of this, Nadia Fanelli’s painting is not superficial at all. Her paintings consistently relate to unitary time; they are less disposed to conversation and certainly accustomed more to command than to advice. Time owns every square inch of her works. After all, Fanelli’s art is constant research: it pursues the gap between one instant and the next, focusing on the moment of change when man and his architectures become, despite themselves, just actors. Her painting rests upon long exposures and dilated, atonic pauses; on mixed media – oil and acrylics, in any case, real painting – and actual knowledge; on those measured pigments and well-measured resins she employs so painstakingly, recording the only light effect that guarantees the visual geography of her work.
Light affects most surfaces: it allows coherent vision from a distance, and strengthens the structure of details through clearly abstract formal decomposition. In this process, transparencies and the overlapping of tones are created by means of resins. Indeed, resins define the stylistic depth of Fanelli’s work and clarify what she calls “lenticular result”, that is, a disciplined spreading of layers that is neither too invasive – light would adhere to it terribly – nor too parsimonious – its portrait of the subject-moment would not be realistic enough.
HER PAINTING IS MADE OF LONG
EXPOSURES AND DILATED, ATONIC PAUSES
Her best works belong to this context; in them, the persistence of time defines the fragility of the boundaries of reality. Fanelli provides her clearly understandable subjects with a static meaning that is limited to the moment, in respect of an everyday life that continues on its route undauntedly. In this broadly plausible metaphor of out-of-sync society, Fanelli’s artistic ideas adjust to the canvas through the progressive destruction and figurative re-composition of subjects that benefit from a wider perspective.
Some social commentary about the disintegration of the community and individual isolation is also present, together with literary speculations on the present state of reality. This is her new, ambitious ground of challenge.