Mariella Bettineschi founds spatial microcosms, thickened all on the canvas passed and crossed by the alacre hand of the artist who leaves no part discovered, taken from the vertigo of horror vacui, of baroque cultural ancestry. Being baroque does not mean being rhetorical and emphatic, but instead loads of returns of the hand in the same point of the space, a fast obsession that continuously travels its own itinerary and its own trajectory.
The total space of painting, Achille Bonito Oliva, 1987
The total space of painting, Achille Bonito Oliva, 1987
Painting is the field of apparitions, the place in which forces and energies necessarily collide with each other. If in the art of the past, the painter used his manual skills at the service of a unified vision of the world, in contemporary art, particularly in the post-war period, he worked and worked to affirm the centrality of the fragment.
A constellation of inner data dwells steadily in the domain of painting, introducing into the discourse of art the erupting and discontinuous force of the particular.
The gestural style of Mariella Bettineschi’s painting is driven by a romantic impulse, as she tries to re-establish, through the problematic practice of the fragment, a total vision of the world.
If the world escapes the total gaze, the artist tries to re-establish, with the vitality of his own gestures, a reassuring and exalting connection of the fragments in which reality ruins.
Painting becomes the landing field of a solitary and ritual practice, through which art celebrates the possibility of a redemption from the negativity of history. The flow of existence finds a purification in the vertical moment of artistic creation, at the same time it is the recognition of the impracticability of life in direct and frontal terms. Only art can redeem the inertia of everyday life, through the exemplariness of a gesture that is certainly not daily.
Thus art and life are placed in a position of permanent and irreducible conflict, without the possibility of finding a conciliation. On the one hand, life, with its irreparable disconnections; on the other, art, with its wise lacerations. Because art always passes through the screening of the form, in the meshes of a language that leaves nothing to extemporaneousness or improvisation.
The destiny of the form is irreversible and touches every artistic product. The gesture of painting can not escape this destiny; on the contrary, it can accelerate its course through the emotional precipitation of the dexterity that rages on the surface of the painting. Only in language does the gesture find its exemplarity, a measure appropriate to its expressive tension.
Each fragment lives a system of mobile relations, so that there are privileged and central points.
The notion of space replaces that of the field, a dynamic and potential network of relationships that find their visual constant in abstraction. The movement is that of the intertwining, in which there are no stops but an engaging continuum of signs, an environmental painting that continually refers to a rhythm, to a pulsation. The architecture of the work is flexible, depending on the space in which it is placed. Concreteness and rarefaction alternate with painted elements that mark the scene, and the presence of compact areas of color, which silently refer to indescribable states and to vital conditions, cultured in their absoluteness.
The language employed, through the alternating use of organic and geometric signs, tends to give itself at the same time as exteriorization and as an interiorization of the artist’s sensitive condition, as an instrument of singing and dramatic representation. Interior architectures hold the weight of the image, an interiority that pivots on a sensitive and extensible intensity. The image is precisely the tangible means of an invisible substance at the moment of the fullness of the work, when the image becomes the light bed that retains and preserves within itself the traces of an interiority that takes on the abstract accents of feeling: a cosmic feeling, at Klein.
“Who wants to judge a work of art according to the magisterium of objective representation, that is, according to the illusion of life that it generates, and whoever wants to discover the essence of sensitivity and inspiration of this objective representation, will never have the joy of understanding the true content of a work of art “(Casimir Malevic, The World of Non-representation, 1927).
So Mariella Bettineschi founds spatial microcosms, thickened all on the canvas passed and crossed by the alacre hand of the artist who leaves no part discovered, taken from the vertigo of horror vacui, of baroque cultural ancestry. Being baroque does not mean being rhetorical and emphatic, but instead loads of returns of the hand in the same point of the space, a fast obsession that continuously travels its own itinerary and its own trajectory.
In this sense, the painting by Mariella Bettineschi is not merely a gestural practice, played on the impetus, but rather an exercise of the eternal return of memory that traces the routes already performed by other artists to break new territories, those where to discover the personal route , the one made of outcomes that are welded to other landings, carried out by a chain of artists who have made art the affirmative field of a stylistic figure that is also the figure of being.
For Mariella Bettineschi, art is a production that takes place within the accidental matter of History and at the same time within the critical and shadowy specularity of consciousness.
There is no art of invasion except in the case of a fantasy that thinks of galloping out of conflict and into the uncluttered place of a height distanced from the echoes of reality.