32 In Giusy Lauriola’s creative horizon, clouds direct the observer’s gaze towards further contaminations. In her work Prendiamo il sentiero paludoso per arrivare alle nuvole (We take the marshy path to the clouds), painting and installation follow an introspective iter that comes from the evocation of a haiku. The very essence of Lauriola’s work is condensed in this metaphorical sentence that alludes to the difficulties of an untrodden path, and to the final destination represented by detachment. For Lauriola, panting is always a meditative moment that places her in the presence of the deepest part of the Ego. This, at least, is the premise. Her painting distances itself from the mimetic expression of reality, but rather translates the constant tension that animates her research. The experimentation that Lauriola has been carrying out for twenty years, step by step, tends towards simplification through the reduction of descriptive elements, focusing in her most recent works on graceful figurines wrapped in old–fashioned clothes. But even the use of a palette with a rather limited number of colours, blues, orange pinks with the introduction of yellows, greens and reds, is part of a vision that aims at new expressions of inner landscapes. Each colour, as Max Lüscher teaches with his psychological theory in relation to emotions, is consecrated to a feeling, an emotional impulse. However, what makes the result unique and unrepeatable is the presence of a material apparently extraneous to the context, synthetic or epoxy resin, which manages to establish a stimulating dialogue with the acrylic colours, the enamels, the bitumen and, of course, the canvas and the artist’s hand that visually translates her thoughts. The immediacy of the gesture is bridled in the density of the resins, thermosetting polymers that take part in the artistic process in the role of active witnesses, themselves guardians of the memory of the action. It is almost an oxymoron: slow and fast, this is how the process is animated with the stratification and the passage of the resin from the liquid to the solid state. At the same time spectator and protagonist of the magic of creation, Giusy Lauriola, whose mastery of the technique comes from constant, daily practice, adapts to times that are slow and immediate in transforming the instant into eternity. In her work, there is also the unpredictability of the mutability of form, accidental, sudden, which itself becomes an active presence on the two dimensional support. This gives rise to new shapes with undefined borders, just like clouds. Manuela De Leonardis NEW SHAPES WITH UNDEFINED BORDERS, JUST LIKE CLOUDS
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