In Portobuffolè the exhibition of the Coneglianese artist. The exhibition reopens to the public from Saturday to June 13th
PORTOBUFFOLÈ. It is a daring juxtaposition to place the dense works of Sonia Ros inside the fourteenth century Casa Gaia Da Camino in Portobuffolè. Medieval walls frescoed with scenes of courtly love interact with the giant fragments of body and bones and moods of the painter from Marca, an interesting figure on the international art scene.
They bear his signature i giant paintings exhibited at the Marco Polo airport in Venice, reworking on canvas of x-rays of baggage in transit. A very serious game of references to the inside-outside, to reality and appearance, to the fundamental detail to understand everything.
As happens in the “Empty Eden” exhibition, Empty Paradise, curated by Afrodite Oikonomidou, which finally reopens its doors on Saturday 1st May after months of forced freezing. The closing date has been extended to 13 June with admission on Saturday and Sunday 10-12. 30 and 15-18.30, by appointment on weekdays by contacting the Municipal Tourist Office (0422850742). 3 euro ticket, free under 13 years.
Ros is born in Conegliano but currently lives and works between Venice and Vittorio Veneto, slipping on the terraqueo border in search of a balance that is never static but pure movement, as evidenced by the green «Muscular Pastures» in which «life seems to arise from the evanescent delicacy of sea water, like an amoeba in which already we see the evolution towards our complex humanity. ”The meadow is like a waving, pure, soothing sea.
E “In the purity of the line, in the consistency of the volume and in the impetuousness of the color, never disordered or excessive, after so much storm of despair and death, we get a feeling of harmony and resurrection from it ». To write it in the catalog is the magistrate Carlo Nordio, who knows how to fathom the “parallel universes” of Sonia Ros, traveling admirably through art, psychoanalysis, criminology, philosophy to conclude that after all Ros is great because, as true artists do, he knows how to touch the heart, tells something about us, helps us to know ourselves better.
The apparent fragmentation of these works at times violent, never overwhelming, which know how to disturb because they move deep chords, can be recomposed in everyone’s imagination; it is neither abstractionism nor symbolism, but rather a surprised look in front of life magnified in sensual details and captured with an emotional, intuitive eye.
Perhaps the only way to understand such strong creations is to let oneself be invaded, to re-emerge in those wooded pastures where we can breathe again.
Info: [email protected]. —
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