Rosenfelder Alisa – Germany
Looking for Kindness
Acrylics and colored pencil on canvas
Rosenfelder Alisa’s painting combines graphic and pictorial skills without conceding anything, or almost anything, to colour. The image stops at the boundary between the portrait panel and the great instinctive mood of certain abstract paintings. The sign first becomes a figure and then plunges into gesture, in a combination that generates a pleasant sense of bewilderment.
Rossi Andrea – Italy
Acrylic on cardboard
Andrea Rossi takes us on a flying cardboard as if it were an oriental carpet. It is precisely on cardboard that his acrylic paints take the colour on a dazzling narrative odyssey, as the image travels through an entire story. A story made up of references to the world of horses, fairy tales and the surreal unfolding of dreams. An interesting work that does not want to say explicitly, preferring to allude… it does not speak out loud, it suggests.
Osborn Karen – Australia
On your back
Sometimes silence takes us by the hand to lead us where noise would never lead. This is where we find Karen Osborn’s paintings. If we linger within these colours, we ask ourselves: where are we? Minimal brushstrokes sketch a light, a sound, perhaps a smell of which we do not know the mystery and yet we are subjected to its spell or, better, its seduction.
Rottonara Lois ROTT – Italy
Aneline and Indian ink on paper
In Rottonara Rott’s works, a precise written alphabet appears immediately. A specific code that the artist has coined to call things not by a common name, but by their own name. It is the invention of Poetry, a world reserved for the few that here opens its doors to the artist who knows its secrets and reveals, in part, its treasures … to entrust them to the world.
Baleri Andrea – Italy
Tempera on photographic paper
Andrea Baleri’s works are a continuous carnival, but in the literal sense of the term: carnival comes from the Latin expression carnem levare “to remove the flesh”. The animal is incorporeal, the painted skin is in turn tattooed with spots, the forms are dismembered and all around rises the world with its swirling of words and facts and events. They are swallow swallows that subdue the fixity of the horses, apparently detached. Perhaps indifferent, perhaps just tired.
Künzler Jana – Germany
Tanzendes Pferd in Blau (Dancing horse in blue)
Acrylic on handmade paper on canvas
Jana Kunzler apparently works only on two planes where the colour is arranged like pieces of a mosaic, cuttings of a puzzle. If we go beyond the banality of the surface, and scrape its epidermis, we find the field where the battle takes place: a further, deeper plane of work. Form dominates landscapes where the animal moves like a shadow. Haughty profiles of horses challenge marble domes, lapis lazuli nights, skies flooded with gold and coral light.
Dippel Kasia – Poland
Mixed media on paper
If we were fortunate enough to take a journey through the manufacture of paper for painting, we could see how it was created almost 2000 years ago by macerating tree bark, pieces of cloth and even old fishing nets. It is oriental ingenuity that paves the way for the noble art of paper, as well as the transparent colour of watercolours and gouaches, which are Kasia Dippel’s signature style. The use of white underneath the colour, which continues to reflect its light through the transparencies of the technique, is skilful, the hand steady and the horses move as if in a film.
Kvitka Kristine – Latvia
Arriva la notte
Oil on canvas
The paintings of the animal are worked with a sober technique, fortunately devoid of fashionable special effects. The animal thus becomes a stamp working in different spheres, at times looking like the stars as a backdrop, at others the glass of a car is in front of the subject, furrowed by drops that leave marks. The horses come out with movement, a slow and precise gait, thanks to a palette that Kristine Kvitka works without smearing.
Messina Cristiana – United Kingdom
Oil on canvas
Cristina Messina’s essentials take shape in the magma of colour. The animals seem at times imprisoned, at others liberated, they emerge from the colour scheme, they move the background just as a stone thrown into a pond moves tadpoles, raises algae and discovers hidden places. Where do the horses’ profiles look? They look at tomorrow, they wink at yesterday… today is a suspension.
Webster Katherine – United Kingdom
Acrylics, tempera and oils, inks, dyes & powder pigment
There is a full intensity in this series by Katherine Webster, emotions made of overlapping, transparent, sometimes full and dense patches. The form is repeated like an obsession and often in the repetition lies the truth. The polychromy merges and blends with the subject, the landscape – behind – seems to be an interior landscape, all played out in the head of the artist who frees herself from it with joyful narrative ability.
Sirio Elvira – Italy
Enamels and Acrylics on canvas
In this work by Elvira Sirio, the relationship between the figure and the background is violent and very clear. The colour scheme is also a precise choice, favouring only two of the three primary colours: red and blue. There is an ancient art in this choice of an empty background, such as the Madonnas of International Gothic or the Saints of Russian icons. What is the artist trying to tell us? Is he elevating the noble figure of the horse to a divine role? Perhaps! The fact is that the subject emerges in all its recognisable integrity, despite the chromatic mismatch.
Schade Susanne – Germany
Mixed media on paper
There is something new about Susanne Schade’s paintings today, or rather old. They are at least a century old, and yet this rough drawing, the anarchic colour that moves restlessly, the animal’s barely noticeable glances, are able to fascinate. It is a simple alphabet that the artist has put down on paper, a script made up of sounds and sudden silences; a veritable symphony is played out on the stave. And it is the brass instruments, the viola da gamba, the noble woodwind of the bassoon, that form the background to the English horn that resounds in the works, as at Roncesvalles.
Riso Letterio – Italy
Natural pigments on board
Letterio Riso’s refined painted panels play their game with a reduced palette, made up only of earth colours. They are burnt sienna, natural sienna, white lead and earth shadow, again natural and burnt. Are we talking about fire? No, but the artist’s forge seems to be in ferment, the right feeling to represent horses as they go, graze, meet and challenge each other. A fine battlefield, these works.
Van Alphen Marlynn Amina – Netherlands
What do you wanna bee?
The subtle art of watercolouring gives Marlynn Amina van Alphen the opportunity to break down and recompose images that are shot through with a delicate surrealism. The swallows are arranged in the sky in the form of a horse trot, the bees casually compose a horse’s snout with their flight in search of pollen. A happy intuition of composing animals with other animals, an intriguing pictorial synesthesia with auspicious results.
Pelillo Roberto – Italy
Oil on canvas
Roberto Pelillo seems to proceed with formal solutions linked to silk-screen printing and printing, but using the technique of oil on canvas. The result is an ordered work, capable of interpreting the movement of the horse as if it were a classical dance. The manes detach themselves from the body like the arms in the dancer’s arabesque, the sky catches fire, the sun falls asleep, the sea moves waters…
Taliani De Marchio Letizia – Italy
Acrylic on canvas
In these paintings by Letizia Taliani De Marchio, one perceives a vague flavour of fresco, like when one seems to smell apricots in wine. You know the apricot is not there, yet its presence is insistently pleasant. Here the background looks like an ancient mortar and the horse is declined with a new but precise design. Instead of an eye, a hole accompanies us back there, on the vague fresco, the tail draws the wind and the perfect movement of the regal ride.
Critical texts by Andrea Ciresola.
ANDREA CIRESOLA (Verona, 1961) is a restorer of cultural heritage, an activity that has led him to deal with the conservation of important works of art such as the frescoes in Giorgione’s house or the stone facing of the Arena in Verona. In the field of visual arts he has won prestigious international painting prizes, he is an illustrator of books and writes poetry and theatre texts. For fiction he has published, among other works, Una fragola per capello (Perosini editore, 2007) Vangog (Perosini editore, 2008, 2020) and Racconti per l’ora d’aria (Edizioni Giuseppe Laterza, 2019). As a populariser of contemporary art, he has held over four hundred public themed evenings.
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