The synthesis of an autonomous, non-academic education, this is an element of strength, between pictorial art, his father a painter, and musical art, his mother a pianist, leads Roberta to verify and reverse a supreme and universal poetic and lyrical path, such as to give him an unprecedented artistic and aesthetic wisdom, his own, authoritative and authoritative, daughter, clearly, of quotations from a modern pictorial literature, elements of a visionary Austrian secessionism, of an inner neo-expressionism, of an oneiric surrealism, of an Art Nouveau that smells of pure handwriting, but stands out through the eye and the intimate gaze of a new, renewed, contemporary and complete artist. [...]
In Roberta Zambon's paintings the unconscious emerges as a daring counterpoint to the lucidity of the reality in which he is recluse. With poetic language the emotional reasoning manages to codify every sensation, every image can be translated into a noun that screams the unresolved problems of the woman. In the work Abandonment the connotative language is transformed into a denotative meaning, the user is involved and enveloped in impalpable atmospheres. Roberta Zambon through an absolutely personal material account often fills the surface of the canvas with schizophrenic signs, painful stimuli that the artist digs from within. Works that are inspired and embodied in a surrendered, resigned consciousness. In the painting Aria there is music, vibrations of air that bends, sinks, re-emerges, that like music excites us, transports us inside and outside of us. The work, played on a few tones, from black to purple, can be translated into a state of grace and beauty or otherwise interpreted as an abyss, a siren song whose breath we hear coming to us from the depths of sea turbulence. Questions that the observer asks himself and that have no answer. Roberta Zambon projects science and consciousness out of herself, the brushstrokes of acrylic are pasty, immediate and balanced, they take on a message that passes beyond the bogs penetrating the dark caverns of human transit. The work Ricordi (Memories) depicts female faces that the artist would like to see as pure as art, preserved from the excisions of dreams and the bites of life. They are alienations of our identity, a mirror in which affective, psychic and emotional life is reflected. The figurativism of his painting becomes metaphorical invention, surreality where forbidden consents speak of the discomfort of living. A personal truth behind an apparent ease of reading where you have the persistent feeling that there is something melancholy in it, to understand. Figurative Neo-expressionism that does not disdain the vibrant grammar of graphism, in the impulsiveness of the stroke the faces become articulated structures that enlivened by a multitude of curved lines, as thin as hair, oblige reality to reveal itself in an unprecedented plot of presences and echoes keeping in the perimeter of the work the transience of life.
- Maria De Michele
The world painted by Roberta Zambon, Roberta Zambon, is a place halfway between the real and the surreal, where the protagonists are female beings with ancestral features. They are not recognisable goddesses or mythological figures, far from it, so much so that very often they are faceless women, to whom, at the will of the artist herself, every observer can give identity. All, however, are united by sinuous shapes that are born from brushstrokes that follow natural movements, those of air, water and fire. Shakespearianly made of the same material that dreams are made of, these female figures, reminiscent of Botticelli's Venus and the protagonists of the Florentine master's Spring, blend and blend with the places from which they are surrounded, in a sort of anthropomorphic nature that seems to give them vital lymph. They are emotions rather than portraits, suggestions that capture the spirit of the observer and leave to the gestures of the forms the task of conveying the message. The energy that shines through comes from the continuous movement expressed by the spirals and swirls that twist along the weft of the canvas, an evolution that seems to follow the times of nature, human and environmental. The symbolism used by Zambon, combined with the use of a few colours but made dynamic in their drafting, create a humanized, archaic nature, suspended between dream and reality, reminiscent of a dance, that of a communion between nature and man, in search of a single symbiosis that tends towards infinity.
Roberta Zambon's painting style is given by a humanized nature, so that the sinuous shapes of the figures, mostly female, live in a symbiotic relationship with the environment, in which they are confused and sometimes hidden until they escape the observer's first glance. Some figures blossom or sprout from an Arcadian-style undergrowth, others seem threatened by an anthropophagous plant world, others seem trapped in the infinite extension of their foliage, which are transformed into tangles of brambles, others are contracted in an anguished way and fold back on themselves, imprisoned in a magical circle that conceals itself in the graceful frame of a cameo. The sensuality of the forms, underlined by the almost total absence of features in the faces, is reflected and supported by a wise use of colour that brings us back obsessively to the four natural elements, but in reverse order to that established by Empedocles: in this case Water, Air, Earth and Fire.
I believe in the profound correlation between the various artistic forms and in the completeness that can be achieved by flanking them. The musical improvisation is born from this: from the creation, momentary and completely spontaneous, based on the emotion of the moment. This is what happened with Roberta Zambon's paintings, images that have not left me indifferent, but that I find strongly communicative, and that led me to develop, in an immediate way, my improvisations.
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