Those crystal Faces
The emphasis is on the uniqueness of each human being
BLACK PLEXIGLAS AND CRYSTALS
MAKE ESSENTIAL AND UNIQUE
IMAGES EMERGE FROM DARKNESS
Never take anything for granted, always look at things as if it was the first time: this is the meaning of research, and thus of creativity, which is not improvisation. In the context of her uninterrupted artistic research, Roberta Diazzi has built her own identity on the use of an unusual and definitely contemporary material – the Swarovski crystal, which she chose because of its higher refractive index – and has insisted, from time to time, on the social, cultural, and, above all, aesthetic features of the portrayed image, as if it was a recognisable pop icon, or the most unbelievable display of natural beauty.
THE ARTIST HAS BUILT HER OWN IDENTITY
ON THE USE OF AN UNUSUAL AND RATHER CONTEMPORARY
MATERIAL: THE SWAROVSKI CRYSTAL
However, research also means to look beyond: the fruit of the artist’s new project – which will be presented at the Italian Fine Art Gallery in Positano in mid-April for the first time – contains the seeds of change and of an increased attention for the aesthetic and individual revolution that has occurred over the last thirty years. Fascinated with the controversial issue of contemporary identity, the artist has redefined the canons of portrait as an artistic subject, and has provided her visual and emotional observations with a solid conceptual foundation that has been only mentioned beforehand. Actually, she has drawn attention to each human being’s uniqueness and to how, today, such quality is completely misinterpreted: she portrays faces with a precious descriptive aesthetic – it is very fascinating to compare her portraits with French photographer Francis Giacobetti’s work – and endows them with an unalienable individual value through a coiled structure that, in its play of positive and negative spaces, ideally saves the DNA of the portrayed subject.
A COILED STRUCTURE IN A PLAY
OF POSITIVE AND NEGATIVE SPACES THAT
IDEALLY SAVES THE DNA OF THE PORTRAYED SUBJECT
She recreates each face starting from a unique and well-defined trace; it is this uniqueness that stands at the core of her reflection. This benefits from a renewed sensitivity for materials, which emerges in the way she actively balances black plexiglas (the support) and crystal: there has never been such an equal relationship between support and matter in her work before. Such relationship makes the oval faces she portrays emerge from darkness and result in delicate and painting-related images, also allowing the eyes and glances to benefit from that spark of life that the constantly evolving movements of light originate. After all, Roberta has painting in her veins, and this, too, is an avenue to renewal. Indeed, it is thanks to a process of pictorial synthesis that graphic lines and the physiognomy of the subject permeate each other, fuse together and complete one another; moreover, her chiaroscuro colour system makes portraits more essential and avoids useless or superficial decorative detours.