Ilaria Berenice Gasperoni

Statement

My initial engine is always the inspiration from which comes the idea and so the action, I do not care virtuosity but the magic of creation. The fact of not having attended art school or art academy, to have started as a self-taught for the sheer need to express helped me to be totally myself and to develop my techniques and ways of working in an entirely personal way. Then in Milan I went also to evening painting classes, that helped me a lot for the development of certain techniques and the figurative language, but like I painted a number of years as self-taught, these courses do not have influenced me too much in the spontaneity of my work, also because I had the chance to meet artists with very open minds. Painting for me is a form of communication, if not by painting it would be with another expressive language, in the past in fact I passed through dance, music, poetry and theater. Art is pure truth, which brings when I create to accept everything about me, I try to free my self from the limits dictated by the constraints, and I think that when art is authentic is also revolutionary, because the real revolution is not a question of power, but a question of transformation of consciousness. In my painting I feel free, and this sense of freedom reaches its peak when I do abstract work, where the action is combined with inspiration, and everything is based on the moment without rational planning. In the free expression in fact chaos is not chaotic at all, everything is in place but with no patterns that can classify or put in "order", so the duality lost ground or otherwise, if it's there, has no conflict in itself, because everything communicates with the other. The work that I like most are usually those made in a short time in a totally spontaneous way, because the rational mind goes in little or nothing, and listen to music while I paint helps me to get even more in this creative state of joy, vice versa the ambience created by the painting opens and expands the listening to music on to other levels. For this I appreciate more the process than the result, but I recognize when a job came good, because there is magic in it and is full of energy. In figurative work prevails the human figure, with no limits of race or culture, what I want is just to honor other ways of being, that beauty however goes beyond appearance and that deep down there are no differences at all. In figurative works, though often you never know how a picture will turn out, I try to stick to a certain discourse, and this process, unlike abstraction, helps me to be grounded, so all my artworks are important , where there is a discourse of pure creative freedom, where there is a discourse more based on "real". Since child has always fascinated me to read and watch images of people and cultures different from our own, until study anthropology at university, but in reality what I wish is to live life and to know the different realities alive more than studying them on books, so when the university gave me the Erasmus, came no more back and I traveled for 10 years, has always fascinated me to look at life from different perspectives, like in the paintings. If sometimes happens to paint a landscape, is always symbolic function of what I represent and not the landscape for its own sake. In the series collage and painting prevail geometric shapes, for purposes of something larger and more symbolic, often cosmogonic, including myself I can't explain rationally why. Lately I also started a series of works performed in 4 hands, I like the expressive interaction with other artists because it takes the nullification of the competition and incentives the expansion of creativity, collective artwork is fully equal in term of rights and inventiveness. Also, always painting with music, I like to often do even action painting performances with live musicians or DJs. When I do abstract paintings I like use acrylic because it is a very immediate technique, dries quickly and is in tune with my mood more instinctive and impulsive, freedom expressed in a faster rate. Other times I use the sand or do meticulous work with collage, a bit 'as when I worked with crocheted in Brazil, this type of work put me in a state of tranquility and peace. In figurative work prevails instead using oil paint, which can help me to be more precise in the reproduction of an image although this is often more surreal than real. Within the portraits or faces, in addition to canvas, also work on paper where I use everything available, watercolors, crayons, pencils, markers, crayons etc.. that gives me a little 'sense of freedom of abstraction but with figure that keeps me grounded. When I lived in Brazil to support used everything I could find around, bark, wood, cardboard etc.., when I went back to Italy I like to recycle fabric mounted on frames, also because it inspires me a lot working on tissues that had already colors or printed designs on them, or work on wood, but more often even the classic canvas. In any case I like to evolve and change, without being attached to a certain type of media or material, I have no fixed patterns, sometimes I leave with an idea that during the picture entirely distorts, in an artwork can happen to place a collage that was definitely not expected. I make so different artworks from each other that there is always someone that is reflected in at least one of them. Is the inspiration that create passion and gives magic in the result, therefore I know that a job is finished when the inspiration is over, when I have nothing more to do with it.

Biography

After studying anthropology at Siena, I started painting as a self-taught, developing and consolidating painting techniques during long stays in Spain, Brazil, India in a blend with local cultures and different art forms such as music , theater and dance. My beginnings were marked by spontaneous creations of 2D and 3D collage simultaneously with the crochet work, learned this in Brazil watching the elders of the village where I lived and that I revisited to create works that resulted in three-dimensional eclectic compositions. In Brazil, I also worked at the Art Gallery of Totonho, attended by the leading artists of the Pelourinho, the historic district of Salvador in Bahia. Back in Milan I made many exhibitions in galleries, bistros and cultural associations. The artistic influences are also the result of the encounter with extraordinary artists such as the Danish Anders Pedersen, the Italian, Juliana Bellini, Mintoy and Umberto Faini. I have done many commissioned works and one of them called "Piazza Fontana" was published on the italian calendar 2007 “El calendari milanes”. In 2008 I illustrated the book "Beyond any reasonable doubt" written by Francesco Tufano, President of the European Railway Workers Association, published by CSA Editor (Italy). Again in 2008 the Spanish writer and critique Eva Minguet Camara has dedicated several pages to my artworks in her book titled "Ilustración de vanguardia" published by Monsa Editor of Barcelona (Spain). For my series of abstract artworks I found many similarities and inspiration in the books "The spiritual in art" of Kandinsky and "On the way of signs" by Henri Michaux, and right to my abstract artworks was dedicated by Morris & Casini Foundation of Rome a large exhibition entitled " Light vibrations" The latest exhibition entitled "Ambientarte", by artists who use recycled materials, was inaugurated in December 2009 at the Art Gallery of Contemporary Art of Gaeta with exhibited some of my artworks of the Series "Collage and painting", and was extended until 7 March for the interest aroused by the public and the critics. It was concluded with the event "Eco-Globe Media" on April 18, 2010 during the Med Yacht Festival organized by the Chamber of Commerce of Latina. In the meantime I am executing various collaborations and action painting with various artists and musicians of different mold and provenance.

Exhibitions and events