The landscapes painted by Stefania Pinci are worlds glimpsed through the stained glass of an imaginary window. The paths lit by light become a metaphor for a journey toward truth.<\/p>\n
Stefania Pinci, a protagonist at the Padua Art Fair with a dozen works, including a beautiful tribute to the city of Venice, arrives, after a long research journey, at a striking chromatic luminism. This translates onto the canvas a scenic layout introduced by hypothetical painted stained glass windows opening onto infinite landscape paths.<\/p>\n
The artistic flair of Stefania Pinci is expressed in harmonious compositions that convey the evocative chromatic harmonies of mosaic art within a compositional framework where she applies a contemporary language infused with abstract thought and figurative naturalism. A personal style, free from theoretical or conceptual preconceptions, open to experimentation, where the recovery of compositional elements paves the way for the modern reinterpretation of multiple artistic languages. An art in which we read the graphic imprint of a past connected to Western cultural tradition, where historical and spiritual influences play an important role in the creative genesis. A return to painting, to its origins and the tools through which it has expressed itself over the centuries, something Stefania firmly believes in, in the face of the widespread degeneration of abstract art in our time. A protagonist at the Abu Dhabi event in 2021, she believes that a full focus on the figurative is inevitable as a pure expression of painting, both current and always evocative.<\/p>\n
The works of Stefania Pinci embrace both figurative and expressionist painting, blending them with the tradition of mosaic art, with a keen eye on Byzantine techniques and the luminosity of golden lunettes. The focus ultimately shifts to the magnificent polychrome stained glass windows of medieval basilicas, filled with a sacred atmosphere. The arrival at her personal chromatic virtuosity, pierced by beams of light, actually occurs, as the artist affirms, in front of the polychrome walls of the Basilica of Assisi, which not only ignited her sense of wonder but also led to a reflection on how to transfer onto the canvas a coloristic structure based on stained glass, setting up a new contemporary language and recreating that luminous effect on pictorial images, conceived as a fusion of mosaic planes and landscape painting.<\/p>\n
The colored tiles, joined and enclosed by lead strips, are considered in light of the idea of the connection between elements in the colorful and complex composition, conveying a strong chromatic effect. Initially used to compose the fill and define the coloring in a defined space, over time they expand, becoming similar to fragments of stained glass, jagged and fragmented. They are ultimately understood as the perimeter frames of the painting, whose image reaches our eyes like a portal to other worlds.<\/p>\n
At its core, an abstraction rooted in the qualities of expressionism, which transforms reality, internalizes it, and then brings it back out, filtered by the emotional impact that shapes the idea. Thus, in Stefania, the figurative, which never aims for a realistic representation, gains an imaginative, intimate, and individual semantic significance. In the complexity of languages, we can say that she expresses a new style that is, on one hand, a recovery of artistic techniques and, on the other, an innovation of them, thanks to her personal research. Innovation that brings thought back to artistic structures as compositional foundations from which to develop new creative ideas.<\/p>\n
The paintings of Stefania Pinci are windows open to dreamlike worlds where the artist takes refuge and finds solace. Painting has projected her into a dimension parallel to reality, from which she seeks relief, like a purifying mandala. In the layering of oil colors, then sealed with the technique of leadwork, we see a return to themes typical of sacred art, which uses gold as a symbolic language. Even the painted nature, placed in a space where color holds an allegorical value, becomes part of the sacred again, participating in its mystery. Its epiphany is foreshadowed by the presence of light, which emerges from the background, gaining life and substance, until it becomes the final goal of a figurative initiatory journey.<\/p>\n
Stefania has a deep love for the landscape representation of the forest. In her paintings, there is a fictitious depth that leads toward the light, announced as truth, the idea of immortality or infinity. She paints vortices of light in the pathways to follow, metaphors for the soul’s journey toward knowledge. A light that captures the gaze and hypnotizes it. In these fairy-tale landscapes, Stefania meditates and releases her anxieties, her fears, freeing herself from them and restoring trust in her existence.<\/p>\n
Stefania does not pursue technical rigor, nor does she create perspectives, but rather arranges planes side by side, creating an illusory optical direction. Even the painting that pays tribute to Venice features an invented architectural base. A free representation that recovers the symbols of the city, where the sea, depicted in jagged polychromy, serves as the backdrop to the carnival mask holding up the Basilica of San Marco, reproducing its golden lunettes from the Byzantine period.<\/p>\n
The vibrant use of colors has always been part of her artistic journey, as well as the use of the palette knife, which leaves a textured, thick color on the canvas, further intensifying the use of pigments and powders she creates and uses, which become almost phosphorescent. In this way, she expresses the power of color, drawing from the chromatic language of expressionism, and recreates tonal and luministic effects that a veiled painting does not produce.<\/p>\n
In art, Stefania Pinci reveals her spirituality. Painting is part of an inner journey that drives the soul to seek the truth of our existence, of our role in the infinite. Painting is part of an inner journey that drives the soul to seek the truth of our existence, of our role in the infinite. We perceive the way in which the artist relates to the world and to nature. Nature, a friend that keeps secrets and reveals absolute truths. Nature, which lends itself to being painted, inspiring a poetic painting that looks to the light coming from the depths, indicating a sacred path, drawn toward the unknown and secret truth of our earthly presence, just as the essence of woods, forests, and waterfalls remains secret. Enclosed in a hypothetical frame, the landscapes painted as worlds glimpsed through the stained glass of an imaginary window, become a metaphor for existence. They are the matter of an inner vision, a reflection of the soul seeking serenity, reconciled with its own destiny.<\/p>\n","protected":false},"excerpt":{"rendered":"
Rosa Orsini<\/p>\n","protected":false},"author":2,"featured_media":16443,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[73],"tags":[],"class_list":["post-16565","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critique"],"yoast_head":"\n