Crystals of Heaven by Marzio Dall'Acqua

The use of inserting natural materials into paintings is at the same time an alchemic gesture and a desire to maintain contact, even if at a symbolic level, material, physical, with nature in a transposition that is both a confirmation of love for it and a painful resignation on the impossibility to represent it in units of vision. This fragmentation of the real is innate in Grazia Badari, who builds her paintings with subtle and subtle geometric lattices, with kaleidoscopic definition of spaces, a safety net, in which to fall and save, if necessary, from this spider web. herself built: hence the title of this exhibition "crystals of heaven", just to indicate this subtle plot, a "texture" often invisible, secret in the meshes of the canvas, but aspires to rebuild a sky: almost two visions in contrast and with ideal and different formal tensions. And he learned, even quickly, that a tiny fragment of the world, his, that of his vision, is manipulated, disguised, transformed into an infinite sequence of spaces, environments, atmospheres and the hypothesis of hiding it more than highlighting it it becomes primary over any form of recognition, of any reference to a reality. And the work places us between nature, history and myth, subtly, often subtle and allusive, because it refers, as we said, to the millennial events of artistic creation, in the long, and certainly not linear, sequence, of that ring constituted, to put it with Plato, from the artist's "mirage", which we now know is not an inner projection but "the reconstruction not only the appearance of the image, but also all the sensitive fields of which you are aware", as Francis Bacon said concluding "You want to open, if possible, so many levels of feeling that there is no space for everyone." But this vertigo Grazia Badari has already overcome it, as she has transcended the limits between figuration and abstraction, keeping but as a constant that relationship typically Padano and Emilia with nature, of which Francesco Arcangeli was the theorist and illustrator, while he is approaching the mythical dimension, an allusion of presences and essences, which evokes a pers on the descent to the Hades, a personal conversation with the shadows. And here is the future of Badari's painting: the shadows will be clarified and his journey, just begun will find a different consistency and different linguistic modalities, in the key of its continuous renewal. Marzio Dall'Acqua