- Giusy Petruzzelli – Critic and art historian
An instinctive user of colours and master of composition; Patrizia Elisa Pareo is above all this. The blues, greens and ochres used in a fine range of shades are the artist’s favourites.
I came across Patrizia Pareo while making a study of foreign artists who have come to Apulia. Her presence in the 2002 edition of “Saint Nicholas and children” is significant. From the point of view of the subject matter Patrizia Pareo’s painting communicates those feelings that have had such a great part in the history of European art.
- Stéphane Rey – Critic
Her scenes or harbours and boats, indoors and landscapes express a profound awareness of tradition and a lasting wish to take into account the seductive nature of a life that is today dominated by the sea but that might blossom into other things against other backgrounds.
In the magical vividness of unforgettable blues and water, the rust coloured boats and harbours abandon the formality of lines and give us a sense of the shifting nature of truth.
But Patrizia Pareo does not just limit her painting to her favourite themes. With strength and sensitivity she manages to penetrate to the spiritual centre of things. She seems to find it totally natural. Everything in her is natural, spontaneous, expressing strength and effortlessness.
All is energy and calm. In Pareo’s recent work one feels a strength that both reassures and enchants. There is the pleasure of a kind of silence, in which, however, the vicissitudes of life are still present. There is mastery of execution that is makes it lighter yet more expressive.
Pareo’s excellence, at a moment of great maturity in her life, is of a persuasive simplicity that shows no sign of waning. Those new to her work will discover an art of an unexpectedly seductive quality and those who are already familiar what she does will be glad to find their feelings about it confirmed.
An exhibition of rare and moving quality!
- Michel Nebenzahl – Writer and professor of aesthetics at the University of Paris X
- Obviousness: the fourth dimension
Look at this, at these paintings. Space and time, things and beings find a place at the same moment. Space surges in the form of breath, skies, water, matter and flesh; areas of equal dignity. There is no privilege. Time is not clock time, but particular to each element, between appearance and disappearance.
- Time exposure: where the image comes from
Each painting shows the very moment and place when the image is about to appear, blurred, as if it were just the click of the camera and not yet memory. Between objective distance and the remoteness of memory. Between “outside” and “inside”, a paradoxical moment and place that is, however, that “intermediary realm” – not only characteristic of painting, but also of the human situation and experience – of which Paul Klee spoke. A vision governed by silence and listening.
- Coexistence and opposites
All elements, beings and things are present simultaneously in all their strength and frailty. Earth is growth and decay. Heaven is dark and light. Fire burns and one already sees the ashes.
Water ripples and stagnates. Flesh is soft and firm, tender and tense. Metals shine and rust. Opacity becomes transparent and transparency opaque. Matter is smooth and rough, colours cold and warm. Opposites coexist and do not dissolve in any definable “atmosphere”. There is no “essence” of the elements, of beings and things. They are all suspended between being and nothingness, in the instant and place of their existence.
- Intertwining of life and death
Forms are temporary and succumb to the destiny of matter. Colours are at their highest intensity and already about to fade. Seasons are undefinable, just like the world today. Nature, beings and things experience life and death at the same time. One can hear their soft unceasing lament. Between being and nothingness the fragile obstinacy of life.
- Where things come from and go to
Matter, light and energy are mixed up. It is the colours which make things, bodies, and landscapes, not the other way round. Pure physics without any metaphysics. Paintings of a woman and a mother. Elements, bodies and things pass; time does not. Matter and space take shape and withdraw, leaving an impression, a sensation and a desire for life. Perceiving is not enough to guarantee the existence of beings and things. They have to be shown, drawn and painted in order to be felt.
These works are neither “figurative” nor “abstract”, nor an imaginary “synthesis” of the two. They show the passage of the existing to the non-existing, from reality to dream, from photography to memory, from appearance to disappearance (and back . . .). They have managed to capture the strength and frailty of what is given to us to see.
- Massimo Guastella – Critic
Her compositions are somewhere between what she can feel and what she can see, between rapid formal recognition and color intuitions that in an authentically expressionist way, she “feels inside her”.
She gives shape to things that are recognizable and easily perceived from their outside appearance from which she eliminates what is superfluous in order to emphasize what she feels, the moment felt inside in its greatest degree of intensity.
The painting of Patrizia Elisa Pareo does without the contemplation of nature and the illustrated imitation of objective reality in order to rediscover truth. To make her human and artistic truths visible.