Beauty and Vanitas

By Vera Maria Carminati
Bertolt Brecht, Milan, Italy May 2006

Light, silence, and unnatural suspension: the flash of lightning is fixed in an eternal gleam and silence is taken away from time because the roar of lightning remains suspended for eternity.

Things - everyday objects that talk amongst themselves and with mankind in this parallel elsewhere - capture its astonished gaze, suspend the referential and mutant play of signs to rise to being pure and essential, and being indefinitely scrutinized in the never ending contemplation of their details. They are perfect and fleeting, replete yet weightless. Space dilates in the veins of leaves and petals while time waits because the necessary instants needed to unfold each shape and go through the ways of color are infinite. A world that, even if small, includes everything- all that is visible.

The object is the center of gravity of the painting’s space, and the center of impulse, the regulating force of what happens around it, from the doodle in liberty style, that is the imprint of its law – a primary shape of cosmos that becomes law – to the gaze of the spectator – distilled emotion and withheld breath.

The poetic detail of Laura Fantini’s still life paintings strongly elevates the mimesis and, through an extraordinary technique of control of color and shape, transforms the “invisible” to the “visible.” In her metaphysical flowers, ideal perfection is sharpened by a strong sense of transition where beauty and vanitas merge. 

The damaged stem, the leaf that curls up, the fold of the petal, they all are stabbed by unreal light, a gleam that turns shadows into abysses and reveals plateaus that are infinitely crossed by transparencies and nuances. t is the metaphysical theater of a parallel reality that lives on an eternal glance and an inexhaustible sense of time, paradoxically fixed in flowers, leaves, and natural elements - symbols of the inexorable flow of things.
 
Back