Criticisms that Inspire: A Journey between Opinions and Feedback
ICAC – International Confederation of Art Critics
Francesca Trusso is an artist of exceptional calibre that eloquently juxtaposes concept, philosophy and thought with execution and skill of the highest level.
Trusso’s creative origins root from a passion for art and beauty that led to experimentation and expression as a self-taught artist who subsequently developed and refined her technical abilities at the Academy of fine Art in Rome. Trusso’s artistic journey has meandered through avenues of creative outputs demonstrating the versatility of her visionary endeavours with a wide range of influences. It is evident, from closer inspection of her paintings, that the artist’s affinity with the medium is more primordial than practical. The connection and bridge between the artist’s mind and the canvas is only permitted and possible due to her innate gift to translate her thoughts into artworks of supreme elegance.
The influences from Art History that have contributed to Trusso’s work reflect her wisdom, mindfulness as well as technical ability. There are parallels with Surrealism, the Renaissance and Baroque styles in aspects of Trusso’s expressive creations yet there is always immense respect as well the liberty to expand, interpret and conceive novel ideas. Timely influences from Dali, literally and metaphorically, mark Trussos latest line of work.
Still life reimagined within the crystal transparency of the hourglass, with soft yet striking reflections of light contrasted with the unbounded nature of the subconscious, explores dimensions within the realms of the unknown and mysterious places where time is incomprehensible via imagery and symbolism that is truly thought provoking. The conceptual depth combined with unrivalled brushwork tangibly demonstrates the artist’s talent. Light is Trusso’s natural marker and she artfully employs reflections and refractions to enhance the captivating compositions that are stunning in their realism depicting form and substance passing through time, with bright colours expressing the succulence of the subject matter. The detail and significance of the neck of the hourglasses represented is masterful and intensely engaging yet only a detail on the overall perfection she is able to capture.
Trusso’s skillful chromatic arrangement depicting the transition and representation of physical states, from solid to liquid or both, traversing the consequences of time is visually stimulating and is set at a scale which is subconsciously logical yet physically impossible. Eliciting significant temporal distinctions whilst questioning definitions and offering a palpable contemplation in relation to the nature of physical matter, the artist eloquently reminds the viewer of preconceived notions that instinctively appeal to our primordial wisdom. Trusso conveys and solidifies the universal truth that reality, whether subjective or objective, is existentially greater than the sum of its parts.
The artist’s dramatic use of fruits of the earth, strikingly perfected in oil, alludes also to tales of lore and a mythopoetic heritage engaging with shared conceptual roots of Greek, Roman and Christian traditions that hold a weight of significance in our subconsciousness. Her employment of such tropes with breathtaking accuracy and eloquence is, in itself, an examination of excellence for the spectator.
Francesca Trusso is a remarkable artist with a repertoire that strikingly conveys her capabilities through sublime execution of layered excitement both perceptually and conceptually. With clarity in her compositions and much credence to the styles she invokes, Trusso radiates the depth of her subconscious world via captivating hyperreal narratives in which the eyes, mind and heart can revel.
Timothy Warrington
International Confederation of Art Critics
.
OPINIONS AND REFLECTIONS
ELEGANCE AND GRACE OF A SIGNIFIER WHO HIDES THE MEANING SO AS NOT TO LOSE HIS FASCINATION
“Francesca Trusso’s works, with their Paradoxical Hyperrealism, would require the use of a powerful and significant ekphrase to be adequately represented. In order to achieve a better understanding, and therefore at least partially make up for the exhibition difficulty, it is convenient to orient the mind on what they evoke rather than on what they concretely present.
In this artistic context, the real and the paradoxical do not necessarily appear antithetical. The author, while clearly representing concrete reality with hyperrealistic precision, elegantly places it at the same time in surreal contexts and rich in potential symbolic readings. His approach allows to combine generally antithetical terms such as concreteness and surrealism, and so the real and the paradoxical can coexist and find their harmony.
The observer with an open mind, through an active imagination, can experience infinite possibilities of arousing within himself a narrative in which a conciliation of opposites is realised, a so-called Coincidentia Oppositorum.
Entering into detail, for some, a painting such as the “QDT-GUACAMOLE” could for example represent not only the hourglass and the avocado but, at a different level of reading, also that process of transformation that symbolizes the flow of time and the transience of life? But also much more, and much more? How, for example, could the Spatial Dualism of the archaic curved forms of the Hourglass, together with its millennial function of marking every moment of Time, evoke both the Images of the Ancient Ages and the new forms of the Geometries of the last physics inherent in Duality and the Curvature of Space-Time? The suggestions of such Dualism could lead us far and in many different directions. Would these be only Dreams, Dream Images or Metaphors rich in meaning? Evocations of Intuition, or Senseless Fantasies?”
Ettore Benedetti