PITTURA painting

Conceptual painting.
Where does painting end and where does an installation begin?
“What is the concept” is the right question.


Submerged horizons, 2014. Pictorial installation.

Memories 23 years – 2015.
White: a photograph of my grandparents found at the age of 23. my grandparents in front of what is now the house where I live. symbolic link between past and present, between past and future. invisible presences like those that a white pencil can write.

The Agreement between Faith, Mind, Heart – 2018. Pictorial installation.
This work is a confession, a psychological self-diagnosis. Intimacy is emphasized by the support, a white bed sheet. A diagram written in pen becomes the beginning of a story, one of those many control schemes that are written to ask questions, to analyze and understand each other. Each of these words was then sewn and faded into the background. Not only the technique of embroidery is a reference to the memory of the past, but precisely for the time and patience that requires to take a weight and a strong meaning to each word chosen. Small elements such as a hairpin and a chain refer to concepts in the text. To be the most important element is a key that becomes the support of the three main elements of the artwork to which the title refers: the Faith (a cross – faith not in a religious sense but as an Act of Trust); the Mind (which emphasizes a logical and rational person who puts thought in front of the rest); finally the Heart (represented by a mirror, is the soul, is the most hidden, the most internal and fragile element within us). From the rope that supports the latter, in fact, that the word Unstable is born and to highlight the search for balance between the three. In last, as in other works, the use of fire returns as a symbol of purification and metabolization over the centuries. The product, the ashes, is here available in layers of paint to obscure and render this initial scheme unreadable, which as it is fast born, is now resolved by answering in a self-analysis the questions, freeing and strengthening those who created it.

The complexity of the full and the courage of emptiness – 2018. Diptych cm.100x60cad. + details.
This diptych on canvas is part of the Flood series. Series born in 2014 when, following the umpteenth Genoese flood, I realized that I could not continue what until then was my purely self-referential pictorial expression. In Genoa the discomforts I observed were many and I could not ignore the victims who continued to be taken from that dense water, Dolcenera, as Fabrizio De André used to call it poetically. In this series the absolute prevalence is in the use of mud collected after those floods. The mud added to the mixture of handmade paper, used for painting or writing, enclosed in containers or otherwise worked so that it can tell itself. The Value of the Object is always fundamental, an object recovered intact or ruined by the flood itself. The Word that becomes reflection, opinion, chronicle or testimony.

Re-read the time – 2018. Unpublished artwork. 6 collages on paper – cm. 70 × 70.
A place: memory of the past, a real vision of the present, a childhood memory dug. Objects: glasses and case belonged to my grandparents. Words: thoughts, reflections, memories, dreams and desires.

Escape (immigrants), 2016.
Finalist artwork in Morlotti-Imbersago Prize ed. 2018, exhibited at Imbersago (LC) and the Museo della Permanente (MI).
This paper touches on a contemporary theme such as IMMIGRATION. This work tells of the flight from the war represented by the burning on the left. An escape that happens across the sea underlined by the presence of the blue color that holds a self many victims. As we have seen in other works of my research, the souls of the victims are represented by flowers, in this case from the flowery red poppies surmounted by wax, the other symbol of death. On the right, instead, those who reach the mainland, the sand, are dry poppies. Here we can distinguish a family composed of a pregnant mother, a son, a father and a grandfather rich in his roots, his stories and experiences. These elements are connected to the surface of the sheet by a copper wire, red like the bracelets identifying all the migrants connected to the wrist once they have landed. As the work method, is always present reflections, words, questions, to solicit a thought to those who look at them.

Memory container n. 1-2018.
Finalist artwork in the Contemporary Competition ed. 2018 – Arsenale Foundation – Iseo (BS).
Gloria Veronica Lavagnini - Raccoglitori di memoria - 2018What are Memory Collectors? Frames. Yes, because frames including works and works are part of an experience, therefore of a memory. This series is nothing but the psychological evolution of the concepts on which I have always worked. These collection are the confirmation, the affirmation of what we have always taken for granted. A binder contains Objects, unfinished, in some cases even Time itself.
This frame contains the time included of 2016 to 2018. A tone on tone of white and dirty colors, are unfinished works during the preparation of the second Degree Thesis and abandoned on the wall of my studio until December 2017 as documented in the photo inside . Well, there, immune and careless of what happened around, that fragment of a wall has been watching and now, shut up under the glass, it becomes a spokesman of that time.