Daniel Buso (historien de l'art)

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Silvia Canton’s painting is research. An investigation which includes many aspects of the sensitive world. There is no trace of human presences, no detail that can be traced back to any form of artificiality. Her figurative and abstract creations are, at the same time, endowed with such lightness that the parts of which they are made appear to move in unison, reverberating a symphony that can only be found in nature and poetry. It is the principle of cosmic movement which Silvia Canton humbly finds in the enchantment of little things. This dynamism, though recognisable in everything which we all experiment on a daily basis in the very act of steeping ourselves in nature, appears to unequivocally extend beyond the simple transcription of a phenomenon en plein air.  In fact, the colour, the lines, and even the brush strokes, experiment with a decorative game which gradually transfigures the subject, denying it the original dimension of perceptive immediacy. In this escape, Silvia Canton develops a series of tools to conceal the mere aspect of things and allow emotion to come to the fore, which is all that counts and is the only thing worth communicating. The natural details, initially directly usable in their evidence sink down to a second level in the paintings: figures submerged by layers of vibrating colour, a mirror of the sensitivity under way. The result is a rhythmic struggle between the figure trying to emerge and impose itself in its photographic clarity and the artist’s voice; the latter ends up imposing itself and her brush strokes increase in power and proportions, reaching a point in which the subject becomes a mere pretext to speak about a total empathy between the creative self and creative nature.


Daniel Buso

Indietro

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