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If
one considers the theme chosen by the artist for this exhibition, our
attention concentrates on the key word: warehouses, places where objects are
stored following chosen and ordered system, so that they can be recovered
easily. But
those which we're dealing with are particular warehouses: of memory in their
own right escape rigid cataloguing, whose objects or matter (memories,
emotions, odours, images, colours ...) can be revived, when re-evoked - by
contract, contrast, association, cooperation, bonding - without any apparent
logical connection, and above all, by eliminating a temporal category in a
kind of presentation.
Memories are blended and sown again every time we give ourselves up
without reserve to the pleasures of remembering, in different forms and
connotations, depending on the predominant emotional impression at that
moment: nostalgia may prevail, the subtle well-being of melancholy, the
sharpness of pain, regret, an overwhelming desire, who knows.....One
experiences the sensation of travelling in circles wider and wider like an
echo's sound waves or like a wavy impulse.
The obstacles are those imposed by emotionalism, by great sensibility.
One
moves by sailing, an action that implicates skill and precaution in choosing
the route and distance, in predicting and keeping in mind the irregularity
of natural elements, in where to land.
But, this sailing is like a dream, a metaphor of going, a trip to a
place: memory, known and unknown at the same time, considered as a warehouse
for storage, stacking, marking, giving away, conservation, recognition.
The way in which one moves is liquid, with the softness and
sensuality of liquidness, the obstacles' sharpness is the landing point: the
work highlights; "watering", tight creases on canvas that escape
the perimeter of the picture, risings in purple, red, blue, blue-green,
depressions like islands, atolls, craters, subtended at times by a rigid
core of support, by scaffolding that appears at the surface.
The learned dripping of coloured substances onto a wooden base with
its margins cut out like a coastline with inlets, fiords, coves; smooth or
porous archipelagos penetrate like forms and withdraw like tints, invaded by
foreign materials.
And light that plays differentiating monochromaticity or exalting
contrasts.
The
metaphor, for whom recognizes it, is interpretable, not only, each one of us
can put our own memory baggage there.
But in the artist there's something more, something different in that
she clings to her stylish rules of an inventor-creator: meanwhile there are
physical characteristics, the pleasure of touching, manipulating, measuring
out material, giving form, wetting with colour; there's amazement in the
birth of a work that appears first in the mind then gradually emerges along
its course, it finds identity while progressing, until it tells the author
"now it's finished, it's done, it's just how 1 had imagined".
And if the tuning between thinking and making is realized, as it
happened in Deanna Galletto's works, then for these representations of
memory: poetic, aesthetically finished and balanced, evocative, one is
dealing with expertise.
So we return to vocabulary (quality, essence) previously used for the
action of sailing.
Giovanna Riu,
July
1992
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