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Franco Sciarretta
(1975)
...the painter's
best expression lies in the careful balance between color and drawing values
which is felt in the watercolors and gouaches, where a typically feminine
grace traspires, ready to pick subtlecolor nuances and delicate architectural
motives.
The artist's
hand is always backed up by great ability and finesse.
At times the
painter substitutes the subject's graphic rappresentation with an emotion
and a particular mood which leave aside the drawing and give more weight
to the subtle cromatic nuances; her work is then full of a profound
melancholy which relates more to sentiment that to pure visual joy.
Francesca Ribacchi (1987)
Dialogue
with one’s self often takes the route of visual metaphors, reflecting one’s
self in them means knowing yourself
And enriching
your personality.
The necessary
condition to make this happen is finding the courage to dig in one’s unconscious
stratifications, together whit the desire to find those primary values
whit which our creativity nourishes itself and which offer the means
to paint an image of single and collective reality.
Pinella’s
analysis is based on re-inventing a common figurative wealth: trees,
faces,
reptiles focussed by the artist whit a magnifyng glass which highlights,
especially
in some
painting, their monstrousity and their strong symbolism preposed to
exorcise
instinctive tension, to remove ancestral conflicts…
…the underlying
tie between Pinella’s strong pictures and their message and therefore the
description of the unconscious dinamics activated by our conflicting tensions.
But, above all, it is an invitation to remove the external mask which accompanies
us day to day and to find whitin ourselves the fundamental phase
of unification
between our conscious self and world of biological instincts: a world
which flows in the pre-conscious dimention, where primary energy
shows itself
us a mark
on paper.
For Pinella
trapping these images therefore implies understanding the positive
forces
of the uncoscious, which, through their unique flow, disintegrate and re-integrate
the Ego’s structure and give birth to man’s dinamic realty.
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Vincenzo Sanfilippo
(1998)
Pictorically
eloquent and imaginative works, referring to the “Teorie della visione”,
Pinella Lena’s
paintings and sculptures contain a fertile dualism, co-existence of
phenomenical
reality’s artistical culture and instinct which enhances emotions, in an
impalpable
and penetrating ensemble.
There is a
particular quality in her work, a quality which, besides the formative
impulse of
the “abstract” style, focuses, through the use of color, the capacity to
evoke perceptions,
sensations and the different moments of creation; a polychromatic
harmony which
gives order to the flow of substance deflagrating into a net of subtle
optical-psychological
articulations, in relation to art-nature-sentiment.
The duality
of her constant research can be connected (in the relation between cause
and effect,
past and present) to the two main historical avant-garde figures:
Klee and Kandinsky.
Pinella Lena
unites her existential biography with her coherent research path, made
up by an interesting
group of trans-figural works which can be summarized as an
evanescent
and phantasmagorical bestiary of both symbolic and psychological origin.
Her present
works have reached an implosive nucleus which, by means of pictorical
substance
made up of chromatic stratifications (water-colors and acrylics with very
transparent
shades), achieves the refraction of shades of color, disintegrating them
with the colors
of light; and all with a very nimble touch. This can be compared
to a
liberatory
auto-analysis forced by life’s restrictions.
In her polychromatic
works, the artist starts from an extensive mass-nucleus saturated
with dazzling
epiphanies and proceeds to painting fluid refractions, organizing them
in
the canvas’
space as a cyclical exploit with cosmic characteristics.
Her paintings
therefore become a part of the universe, rainbow-landscapes, plant-dew,
symbolic animals
which represent the cosmic cycle’s eternity; they return to a nature
which cannot
be considered as anti-thesis but as a continuation of one’s Self. |
