Criticism
Critia Ferrari criticism
"Moments full of mysterious appearances, a completely personal psychological and creative adventure, a quantum journey, to use the language of physicists, as if we were to move the orbit of consciousness from the mass of our body to a mass-light. These were the first impressions tried in front of the works of Olivia Bassetti where the eye was never led to a focal point. The focal point shatters in numerous attention poles, so that the observer is forced to a type of "peripheral" vision, that is, an intuitive emphasis of the image as happened for the expressionists abstract from Pollock to Bazites in Rothko. But here we are not properly talking about painting. Rather than an existential experience of which any visual concretization, which is the material, is a schedule, canvases or forms of wood over which, the only tool its own hands, applies papier -mâché paste in almost sculptural modeling and then covered it with silver and gold sheets. Here is the big and dazzling rounds, without that obsession of the centrality that characterizes the circle as a bastion, a city heart of medieval memory. They emit creaks of wind, rough sand (lunare?) The canvases of Olivia Bassetti, the eyes of paper and rolled, buttose, scrambled of its rounds stealing some bright chips, dispersed in the immense space, to throw it on the drum of the earth that undergone rhythm. In a series of cosmic and terrestrial allegories, the artist professed how vital the appeal of the absolute is. In observing his works, the opportunity is taken for a face to face with the ineffable the divine cunning has put in front of us, so that we can guess the impossibility of an escape. "
Curzia Ferrari
Criticism of Vinicio Verzieri
At the Arcadia Art Gallery in Milan in the collective "moments" Olivia Bassetti with the work "Pletnilunio" shows all its art concentrated where the circle placed on the right, material, which ferments in its chromatic and geometric order that vibrates internally, with joyful liveliness showing a visceral dynamism, placing itself in the preciousness of the gold background. The work refers to the Byzantine icons loaded with religiosity and the "divine world" above the sky as in the painting by Carlo Crivelli exhibited at the Brera Museum.
Vinicio Verzieri
Criticism of Benedetta Botti
One of the reasons that in the "night" of Olivia Bassetti we find, is the choice of the simple reason. As already Arthur where he wrote: "In the simplicity of the reason, the general principles of natural and artistic creation are revealed" so Georgia O'Keeffe, doing precisely what the artist friend where he had said, realized that the same law was also valid for nature, to which a few forms and colors are enough to create an object. The same conception is revealed at the basis of Olivia Bassetti's pictorial art. The two artists are united, among other things, for having abandoned both, albeit in different historical periods, the work of advertising graphics to fully devote themselves to their artistic vocation. The essential feature of Olivia Bassetti's painting reveals its depth and at the same time its strength. The artist used here, as in other works, materials such as papier -mâché paste, gold lamina leaves and vitreous pasta, in addition to the colors. What at first sight for the observer appears as a naturalistic execution, in reality to a more accurate exam than the "night" we understand much more: the flower has conquered the matter. The observer's eye is as if it were kidnapped by multiple center of gravity, because the artist wants to push the observation of his work beyond the apparent dimension. Olivia Bassetti seems to say: "A flower is relatively small." ... "I will paint him great to convince people to take the time to observe it ..."; These are the same words that O'Keeffe revealed about the interpretations they gave to its flowers. Through the color and material Olivia Bassetti expresses the experience that you have of the flower, thus evolves its harmoniousness and intensifies its natural appearance thanks to the Polymoteric elements. The aesthetic sensitivity of the painter is noted in the composition of the "night" work where the perfect brightness, the bodily and material substance create fascination of the human gaze. "The large white flower with the golden heart, proves only to those who know how to observe it and know how to wonder" I would add, while Ferrari wrote: "You can also look for spiritual food in the glass of a flower".
Benedetta Botti
Criticism of Jessica Forlai
Just a look, a hint of the eye on one of the works on display. And everything is canceled, the body and mind are catapulted to the time of divination and magic, at the time of delicate priesties, custodians of a knowledge and a culture that isolated them from the world. The long and soft dress up to the feet enclosed in shoes, the fresh flowers linked between the long hair and eyes turned to the sky, to scrutinize the movement of the stars to try to satisfy the immortal human curiosity. Olivia Bassetti has this power; Make the observer feel a chest of cosmic and inviolable secrets, loading the air of spells and potions. Works of art that seem to be great animated mirrors, enlarged talismans to reveal a single truth, medieval jewelry embellished here not by gems and jewels, but by the most diverse materials. Contemplation is an obligatory stop in front of the circular panels as next to the square canvases that imprison gathering flowers that are not satisfied with two -dimensionality. It is impossible not to let go of the flow of energy and movement that as in an astral vortex kidnap eye and heart and then free them on mirrors of light and sun, on lunar portholes and concentric scie of stars. These are works that live exclusively in the presence of light, like a hidden mystery that becomes truth only to the appearance of the sun of the Alba. And it is as if only the artist herself could act on these mysteries, in an intimate and private investigation of the man-natural relationship. A contemporary incarnation of the Bellinian rule that makes the artistic creation and the assembly of different techniques the expression of its personal truth. It is an art full of poetry, of infinite depth. An artist like William Blake, also philosophically involved in what is the mystery of nature, once he declared: "If the doors of perception were cleared, everything would appear to man as it is in fact, infinite." Here then that Olivia Bassetti's works are the opportunity to open those barriers and get in touch with the magical and divine law that regulates everything and everything rules.
JESSICA FORLAI
Criticism of Vito Sutto
The Lombard artist Olivia Bassetti exhibits in these days in Udine at the Art Time Gallery in Vicolo Pulesi. Delicious space in the historic center of Udinese, the art time with the artist Olivia Bassetti finds once again the key to enter the heart of the Friulian public. With his artistic creations Olivia Bassetti can ado admirably a abstract quid that has an evident sedimentation within the framework of a direct knowledge of the history of the art of the last fifty years, with a more traditional vision. The creation that is built on volumes, interlocking, golden preciousness, also grafted into the figurative vein and then here are the flowers, delicate and symbolic: a true allegory of the seasons of life and the flourishing and the fading of existence. The abstraction of volumes, sudden chromatisms, then seem to mature the realist awareness that finds its origin in the flower, true metaphor of the ego, of all of us and perhaps properly and specifically of the artist who in nature finds herself, awareness of belonging to a delicate and alive world in its colors and signs. Meeting with Olivia Bassetti's personality not to be lost.
Vito sutto
Rivesicism of Anna Bonanni
Olivia Bassetti, a material artist with tactile expressive sensoriality. His rounds are reconnected in the use of the circular form and only for metaphysical threads to works such as the Tondo Doni, of Michelangelo, or to Luca della Robbia's agemic ceramics, with a particular bas -relief modeling enhanced by dazzling shine. The materials to which Olivia Bassetti occurs, are the papier-mâché, the gold leaf with which it covers with mixed technique its round panels as in the "cosmic vision" and "cosmic intertwining" series where smoothness and material crusts precisely agree in the pre-physician space. Even in his most stylized floral works the scan of the rhythm, the connection with the natural elements, underlying his artistic research, emerges. The symbolic dynamic of his works is on various floors, while the macrocosm to which he draws on with transport is that of nature and universal energy. Creative force and great ductility with the use of materials (papier -mâché pasta, fabric, muffled, gold leaf and silver) suitable for the marked material sensitivity. Each work is the result of a profound meditation through which the artist comes to the dominion of the matter. The form understood as an aesthetic of ethics, in a perfect chromatic and structural affection.
Anna Bonanni