Daniela Lupi’s Fil Bleu.
She is an artist that comes from Campania and she is deeply linked to her cultural hinterland. She has a consolidated artistic career and she surprises us with an artistic turn that reveals all her potentialities since its first and brief glance. Effectively, human figure – that held an undisputed record with couples of dancers 2012/2013- is overlooked for the benefit of marine and rural foreshortenings reconsidered by personal, formal and tactile style that derives from her collateral sculptural activity.
Our attention is caught by the force of her brush strokes that express natural events, changes of mood and they interlace becoming unique in the paintings. Her language is in the definition phase; the colour shines through impetus in the reproduction of real aspect that entrusts to absolute and evocative simplification.
If I had to condense in some words her last artistic evolution, I would not hesitate to talk about formal strategy focus on subtraction and lightening.
Her artistic evolution, in detail, is attributed to the passing of figurativeness that is firstly dedicated to the impressionism and later to different flower compositions and choreographic and musical groups. Despite of this radical shift I think that an important leitmotiv goes on in a painter that elects the light and intense, material and tactile colour as essential aspects of her poetry.
As far as the blue colour – as she stated in an interview – it symbolizes an «evocative force of all vital expressions. I soften, concentrate, measure and spread out it. I needn’t more than the palette».
It is a colour that, through recent experimentations, deploys its expressive potentialities by numerous strokes. These strokes are from more fringed, dynamic and impressionist of Giuncheto to cottony, misty of Pale blue landscape, Out of town and Banks.
This skillful and visceral regard of her art are able to harmonize the compositions and compensate for the temporary surrender of academic representionalism. In this way, she can protect herself from possible reactions caused by metamorphosis of her blue painting.
The blue, that is strong “evocative force”, intercepts almost consciously Yves Klein’s training concerning the pigment as expressive, artistic and conceptual propeller par excellence. However, next to this last exception, it is possible to recognize another more biographical that it is interpreted as transfigured expression of
Naples, her homeland, and of Mediterranean with its irreducible mirror composed by turquoise and light blue, between sky and sea.
Daniela Lupi is able to come out the landscape from a nebulous of violet, lilac, black, green, it recalls without give it back by photographic precision like a low relief that has just been sketched out and calls into question the viewer. The landscape uses the sight to identify different elements but it could also touch lightly painting surfaces and immerse in it. Consequently, the surfaces appear overflowing of a nuance that sculpts, shapes and arranges the complete work.
Lastly, it is not risked to interpret a trio tactile chromatism – brush stroke – landscape (marine or rural) as a new poetical lexicon that uses the brush stroke to keep the rhythm of compositions, to provide the necessary suggestion by dynamics and disintegrated evolution. On the contrary, it could give back the compositions to the silence and to renovated reflective quiet that happens when the coat of colour proceeds to wide and uniform painting of background.