› Two words about Antonella
Matter?
Looking at the works of Antonella Pagnotta, it’s easy to be caught in the idea that everything is wrapped up in the matter. Starting from the use of wood, from the well-muscled bodies, the firmness and the clearness of the contrasts and of the lines, to the so much delicate use of coulors, that they seem almost real.
Matter as a possibility of existing.
Shape?
The plasticity of the bodies and the use of the colour as an aim and not as a way of expression, of course succeed in showing the very essence of things, just thanks to the shape.
But all this matter, these shapes which seem to come from the mineral, vegetal and animal layer of the stuff, the semplicity and neatness of the curves, of the lines and of the colours that evoke a primitive expressivess, become, maybe just for this reason, so revolutionary, to touch, without appearing strange, the spirit of art.
› Atomic Plasticism
Antonella Pagnotta is a painter, immersed not only through existing difficulties, but also through the contradictions of modern art. In the age of globalization of goods, ideas, relationships, and artwork, Pagnotta seems to claim, rather demand, a specific belonging and knowledge of her own roots. Her style and personal experiences derive from traditional handcraft; the manual of her work, the use of materials such as leather, fabric, silver, and wood, but also through the anatomical manipulation of these materials. Pagnotta is a creator of objects, design, fashion, and jewelery, while her pieces are formed from material wood creating shaped mosaics of human bodies. It is from these personal experiences that the statuary of the painter is expressed.
Having lived in Florence for 4 years, Pagnotta has, possibly consciously, assimilated the lines of her bodies and the desire of portraying these, through her influences derived from the Renaissance. However, wood was not able to satisfy her desire of movement and color; oil paintings seem to be the ideal solution. As previoiusly mentioned, the directress of Pagnotta's work is Renaissance statuary increased through the Lombardian-Venetian distortion, which arrives through modern expressionism. Her direction is also signatured, more than other artists, through Futurism and the luminosity of early Boccioni. It is all in the specificity of the painter; the fact that Pagnotta is Italian. But the color and the statuary are no longer mannerisms, rather mixed up and crossing in a game with no incentive towards abstraction, yet where it is obvious that reality is not an easy game to play.
Returning to the paint of the body - a recognizable material without further manipulations or decompositions; however, not represented by a rhetoric or photographic objectivity. We can say that the artwork of Pagnotta is a paint of memory. Touch and sight are instruments of this memory, composed of objects, colors, and bodies. One can find the specificity of the painter in the existing drama of the paint itself, where Pagnotta refuses the dogmas of the present and brings one back to the past, where the dreams of paint are found.
The perception of futurism, in relation to Boccioni, searches “ultrasensivity appearing with the new conditions of life created through scientific discovery” - still one of the highest summits of paint. However, in Pagnotta's works, the plastic-constructive idealism has lost its idealism, but has also lost its constructivism, stripping the specific temporal to get an atomic-plasticism, as the modern technè splits the atoms contaminating humans, who then crumble into an unspecified amalgam. Unconsciousness is no longer found inside, rather outside of the human. This is why the figures return overbearing and the colors are placed one upon another splashing in sparkles similar to the flash of the actual nihilism.
Francolini Mauro
› The manifest of the Atomic plasticism
Imploding the atmos,
They disappear like a flock,
The sensations get atomised
The chest is gash
Blood is lighter in the air,
Short shivers vibrates which
Stimulates adrenalin for
our impulsive motors.
MOTORS!
Gears of satisfied in one’s whims,
languages
comes into putrid minds
in actions of
decomposition.
Filter like running water
electrical,
flashing
the retina
tumbling down
on a multicoloured trail of indigestible flavours.
incests
they overwhelm of value
of further despondency in the
comparison
of an irrational equation.
One should extend like paint
watercoloured, on the eyes of these hybrids
in light and shade.
One should star atoms hibernated in ignorance
That wrap our race up during this time of the order.
One should burst into their bleak limbs
Violent their concepts:
during this 2 phase of the order the heroic enemy of the global system,
or the king, the king of the chatter of the 3 world war,
has been technologized, like an electrical wave,
has gained the approval of nature
has burned the archives, that corrode our
MEMORY
We shall not any longer beg the cant to be able to eat
The remains of a few moments of accustomed drowsiness.
We shall become farm workers of our brain
We shall repudiate the cages in which they have imprisoned us
We shall wake up the mummies of our sense.
Absolutely crack
The contradictory cloak
Which recover our skin
Of the liquid mass
In the conception of every day.
It seams like living in a greenhouse full of wild animals sated with nothing
The informer Monarchy ideas derives from the king of chat.
One should implode the atoms of the brain like dissolving a planetary nebulae
Recover the artisan level:
personal shops in
individual brains
Resolve the firmness of every day
Create ones “own way”
Create a National-Popular
Culture
Marcello Francolini