Critical texts
Critical text by Francesca Think
Emanuela Volpe's work is rich in various shades of expression, but are closely linked by the consistency of creative thinking and formal choices.
The determination of a kind original painting is already evident in the production that the artist created in the nineties, when painted several portraits, some of which were devoted friend Pea.
The color appears already as the dominant feature of the composition, although its composition has yet to sign quell'ossatura characteristic of successive stages, but it highlights some jobs that tend to read the subject represented, always focused on the figure through a geometric structure built on variegated colors.
The representation of the model, predominantly female, then begins to get complicated, providing a structure through enlarged details that reduce the body fragments, where it is always the color that determines the shape.
For this artist, like her fellow Group Artemisia is the crucial relationship with the living model: the artist "copy", but using the brush like a pencil to draw an early stage and using a color capable of make any reference mimetic read inner painting in this way the Fox arrives to its current and original definition of the representation of the body, which is explored in two basic versions of the figure and portrait, not infrequently with a precise distinction between a the other kind.
If indeed the return faces portraits taken with special cuts, in some cases very close, in which the choice of colors and show signs of real faces distort into a definition established by a look mental representation of the figure's face can disappear, leaving only the image of the body the task of visual storytelling.
The anatomy is then delineated by color, which is spread through the obvious routes of the brush, which show the creative journey that led to final surrender. The colors come in a wide and varied, which is difficult to identify preferences for particular colors: clear, however, is the effect of intense emotion generated by the perceptual palette, consisting of color vitality and energy.
And so are the color and the sign that come to show the most typical and most significant collection of paintings of the fox, and that is its deep involvement at the time of painting, lived almost as an existential necessity pressed by expressive urgency.
The artist then comes to define other specific entities, broadening the range of topics normally frequented: we see the artist appear in the production of winged figures of strange-looking angels who display an unexpected nudity or even images of suffering women crucified.
Another variation of the original painting of the fox is then determined by some large canvases, on which lie giant naked women taking the female figures as a measure abnormal, but not their gigantism becomes dangerous titans, because the anatomies lighted by colors and joyful life awaken in our minds the memory of the great stories of mythical gods protagonists of legends domestic and intimate rather than heroic.
Another interesting and significant development of Fox's work consists of calligrams, where the signs of writing involved as an important part of visual storytelling, assuming a value as well as formal semantics: these particular works, sometimes enriched by action of dripping of frottage and browning, may bring short pieces of famous literary works, which affect, with their message, the entire composition in colors and shapes.
Emanuela Volpe's work in its broad and diversified production, thus showing the deep passion that has always guided this artist in his constant search for original and current forms of painting.
Francesca Think
Critical text by Gabriella Ferri
Emanuela Volpe graduated in Brera. He lives and works in Corsico and teaches art at the Art Institute "Melotti" in Cantù.
Give free rein to the emotions that are reflected nell'accensione colors combined with wisdom and courage and dynamism of painting. If the proposed model is an object, a composition with small figures or isolated shell, the color of the sign resulted in the investigated carefully in all its aspects, he draws directly bodied and confident strokes and turns it up to make no longer recognizable. What matters is not its physical reality as his membership in a state of nature becomes a shell floating on the waves or the powerful and incessant movement of the sea. The human figure, the model taken from true interpretations are sensitive and compelling moods and feelings, a lively conversation between subject and object, or maybe search in the full identification in your personal world.
Gabriella Ferri Piccaluga
Critical text by Stefano Fugazza
Emanuela Volpe is still attracted to the summary that you would find essentiality shorthand, so that a few strokes of color outlining a figure, a physiognomy, a state of mind. In other cases, notably in watercolor, the artist is fascinated by the lyrical and expressive potential of color, its ability to yield symbolic.
Emanuela Volpe is still attracted to the summary that you would find essentiality shorthand, so that few strokes of color outlining a figure, a physiognomy, a state of mind. In other cases, notably in watercolor, the artist is fascinated by the lyrical and expressive potential of color, its ability to yield symbolic.
Not that Fox Emanuela ignore the problems of his colleagues of "Artemisia", because in fact the group is based on a rare homogeneity on a harmony of accents impressive estate, but it is true that the inquiry into the face and body Woman joins here and almost gives to other targets, which are predominantly those of a declination form, a more determined interest addressed aspects such as composition, relationships between individual parts and so on. The cut image, for example, which is always carefully chosen, in the case of paintings by Emanuela Volpe is especially daring, sometimes allowing the focus isolated from the context, on a limited aspect of all, how could it be half of a face or in the case of the recumbent figure of a female nude, the increased importance of abnormal limbs compared to the face. The color plays a role in this direction in the sense that its function is not particularly expressive rather compositional in the yellow horizontal band to which the figure leans especially those in the report - opposition to the naked and the hue fund, and similarly in Corsico Christmas are the two colors - one of the internal structure, a contiguous space - to hold the work, just based on chromatic relationships.
Seems to claim, Emanuela Volpe, with his works, a vision of painting as a fine year, discarded the possibility that art is required investigation that has some social goal or some kinship with the contemporary history, culture, 'individual existence. This does not mean that Emanuel is insensitive to the tensions of the present day rather indicates his vocation as the immanent, is essential in his work.
Stefano Fugazza
Critical text by Giorgio Seveso
The need, all women, not to isolate itself, but to continually be the willingness to learn, the ability to question, is a strong push to work on the basis of continuous growth, an ongoing exceedance of previous achievements.
Our friend shows us the culmination of his work today, which is the starting point for research which will resume from tomorrow. The fact that the road does not mean that beginner. And 'good, and here gives us the proof. It is worth it to follow its activities, because it promises a lot.
And here I invite those present to visit the exhibition, and discover the strict sense of the composition of Emanuela Volpe, the output capacity of the characters, always together in a particular way to use color, sometimes close to Fauve.
Louise Grass
Emanuela Volpe in the lightness of spring "unfinished" is like a light inner and physical. A light that lives restless impulses, but also of close run-off switching of secret and often congeals into lumps lightweight and translucent, and in mixtures and textures ocher transparent, luminescent liquid and smooth.
Yet this kind of insecurity of the images, this vibrant fluttuanza their informal and sometimes almost never comes to us, by virtue of his office lyric throbbing widespread and essential, the sense of a project only, the mere sketch, but the most Heavy and round, the work accomplished. The figure, in short, is still the converging point where every certainty and ambiguity, and in which thickens the vitality metaphorical imagination with the registration of any private excitement.
Giorgio Seveso
Critical text by Rolando Bellini
Emanuela Volpe dissolves into a multi-track each person said, to give new vitality to the iconography: she seems to line and color, space and real time, and then rebuild this and that and every figure, with an arabesque dance, time to deliver continuous and fluctuating harmonic dictation, and now shattered and broken to build a composition dystonic. So this is a processes that give particular substance (the substance of their pigments) and new depth to iconography, these linear paths, subject to known claimants in the history of ancient painting, as recently, yet always known for their unusual intrinsic inexhaustibility .
Roots, shells, pictures, everything seems to be, at times, the weighty presence of what remains after a shipwreck: emblematic fragments. Other times, conversely, the salient features emerge from variously configured symptoms of research still be trying to capture the vital essence of the subject worthy.
Sometimes that person seems to settle on the surface of the support and giving spirit at work. We must say: the subject is no longer or ever, what is represented, but rather what is sought by "doing" (the explanation of a trial). And again this is confirmed: the soul that has a footprint that is implementing a track-shaped, or rather, what remains is pressed and, in any form, its essence.
Rolando Bellini
Critical text by Martina Corgnati
Emanuela Volpe's work, however, persists more than that of her colleagues on the theatrical component of the pose, the elegance and ostentation of attitudes that are not so much a part of life as the pictorial tradition, and that, therefore, carry with itself a rich set of memories and stories of other frameworks, models and other similar attitudes of the painter. Her love for color, however, urges us to approach the subject to achieve the close-up photography really, who deny the fund, the space around, and enhance the detail: the lips, hair, hand, appears to strokes large and dense that they can make any occasion seem independent of any story, any description and any object in order to offer only as pure painting, abstract painting (but on the other hand, all painting is abstract).
Martina Corgnati
Critical text by Paola Richetti
... A powerful figure to Emanuela Volpe mindful of the whole line of twentieth-century thought that the constructive force of the form leads Cézanne last Boccioni doing just screamed and expressionistic color that enhances the image synthesis.
Paola Richetti
Critical text by Carlo Galimberti Adelio
Emanuela Volpe depicts female bodies with that serene color saturation as those with proximity to the creativity of nature, as is provided exclusively female. Emanuela Volpe turns to nature with that quivering, and at the same time, respectful attitude of one who listens to say feel of everything, so far as I can perceive it and therefore revealing, allowing things that freedom of expression that will have its resonance in the persuasive appearance of intense, saturated color scheme of his painting. The female body in works by Emanuela Volpe opens the eyes of the artist telling a thousand stories he has guarded so far and that the artist as body pigments. And so that every chromatic opens seductive narratives beyond their physical appearance, functionality, malleability. Fox gives them a voice giving evidence to the gesture of painting, where color of the lumps of matter revealed by the gesture and the sign painted on the surface offer a new and fascinating possibilities bodies narrative portraits. And they so loved, open the exciting part of painting.
Carlo Galimberti Adelio
