It is not the first time that, I suppose, not it will be the last in the history of Art that, the expression, the visualization, by previously decided means by an artist, of own feelings and emotions, comes fed from inner propulsions loaded with negative feelings provoked by daily events interfering with the course of existence. I am, now, sliding the last works, in time order, of Rita Pierangelo, than in past had offered to me the cue in order to speak about her analytic capability about the human being, with which she was been able to carry to light the defects of other half of the world, but using a light and elegant language flavoured of an irony, all feminine, dense of so much “humour” to drive us to think about and to gently smile for the relationship with the male (presumed) dominating, showing him in a zoomorphic alter ego dressed up with negative qualities more ridiculous than dramatic. Today, in her actual works, I find a tension that moves from a normal contrast between sexual gender, to place itself within the psychological fight, more than in the humanistic dictation that guides a correct cohabitation between female and male, even if in a phrase of existential dissent.
All that paradoxically, does not make a dent of her painting qualities but it enriches it of technical and structural cues of remarkable substance, the painting becomes more incisive and the chromatic assumes, sometimes, the aspect of an index of psychical introspection (See the series: The Viruses) from which the Artist gains the necessary cues to realize paradigms in order to physically show us fears and feelings otherwise not hypothetical visually, than in these works acquire character of archaic alphabet, nearly musical from which we get a feeling of dark threat to our own physical integrity. In other works (See My Stomach or The Fetus) colour becomes even more protagonist allowing us to pick up, with our optical sense, the physic form of a pain that explodes distressingly into the protagonist fibres, caused by external tensions provoked by the fight with a personal Entity that can border dark and bad side, and ever action of the daily life can look like it all with consequent physiological shocks of fear and torment.
Suddenly the disdain takes control and the Woman delegates the Artist to express new feelings that can show the state of mind forced by so many humiliations. Here starts the creation of new paintings in which, once again, Rita Pierangelo defends herself from the other half of humans showing to us the Man, the male, in his condition of greater psychical weakness.
No more, then, thin irony and humour but a series of raw visions, even if soften by the veil of an art with almost perfect traits, in which the “beast-man” is shown by the Artist in “physical self-satisfaction” generated attitude with evidencing, with intelligent descriptive language, the moment of the loss of every defence and yielding of any psycho-physical control that differences him from his atavist grandfathers with their great lacks in spirit and soul.
RITA wanted, however, in some of these works to emphasize, like, the individual male, once again has a behaviour that is a challenge showing him to us in a posture that, without misunderstandings, wants to exalt his own virility to confirm the typical convincement that only by mean of a presumed “sex appeal” he can dominate the other sex. It is the case of: “The Monkey Man” in which the Artist has been able with a perfect physiognomic, to describe the psychical moment of the subject that appears in all its arrogance in evidencing its virility, like a provocation, the exposure of that “stick of power” that for centuries the male power has used in order to submit other human beings.
A dared operation by her in showing us to those bodies inquired in the more secret fibres, deformed (men beasts), morally and completely undressed of any spirituality, given over to a pure hedonistic activity, finalized to physical pleasure only, without the comfort of Love. Here the painting becomes hard language, washed from any trace of poetry form, to become sour report, than Pierangelo rends evident with a expressive figure that places her in a situation of artistic advanced psychical level.
I think that at this stage a reflection of ethical character has to be done: can one in the name of art show moments of sexual intimacy with exhibition of the pudenda of an individual? History answers affirmatively listing to us lists of names of the most famous Artists who in the course of the centuries have used the sexual sphere in order to enter in the human psyche, even meeting ferocious critics and physical risks, to show to the world aspects of the HUMAN otherwise hidden hypocritically in the oblivion warehouse. Today with the intellectual evolution this type of language is accepted, even if it still meets some resistance and sometimes censorship. It will be sufficient to remember some names: Picasso – Freud – Schiele – Dalì – Guttoso – Magritte ……. (and how many others for which we would have to open a chapter?) to which with the proper approach and sense of the limit our Pierangelo putted herself in line sure to be right in proposing to us without sails, but with elegance, segments of human behaviours.
Taken notice of the reasons that have guided the Artist to decline with her paintings the fruit of her anguish, of her fears, provoked by the events that She describes like “Viruses”, that appear to us through a jargon written with blood, or as visceral contractions symbolized from that coleopteron that materializes between organic masses (V. My Stomach), as the conditioning “invisibility” of a fetes maybe destined not to be born, we also want to pick extending aspect that the other works of this important series offers to us, because in spite of it all, Rita Pierangelo has not lost the hope in what Life can still to offer. So different “zoomorphic” subjects reappear as that never gone away sense dell’humour that she has, suffused of airframes, that she had abandoned along the way of strong psychological contrasts the cold breath in order to newly amalgamate itself with the warm colours of a psycho-physical relax finally found by our Author (V. The Woman Walrus), still moments of sadness for what that could have been and has not been here and there re-emerge (V. The Woman Star) up to make re-emerging an warm self reference (V. The Woman Zebra) or the finalization of a dream (V. The Winged Woman).
I realize, consequently, with the sympathy due to an intelligent and prepared woman, in technical and creative terms, a not common attitude to Art, that her return in that sphere, where every author’s language has straight of hospitality, with social and personal finalities without any negative impulses, is a matter of fact with the hope to have back in a not far future that painting verve that, already in past, took her to describe to us to uses and habits of heterogeneous people, luminous Venetian ends revisited as in a dream, intense portraits of various subjects and even those interesting ceramic works so elegant in their simple structural purity, without to forgetting the dared plasticity’ of her sculptures.
An aspiration that, I am convinced, RITA PIERANGELO also cultivates in her heart of Woman and sensible Artist towards the possible performance of the “beautiful” like future for great part of the Human Beings.
George Pilla – Critical d’Art The