陈列您的艺术作品给每天无数的访客观看

My painting is the revelation of spiritual secrets of which Nature and Man are an expression. The shapes are archetypes hidden away in the unconscious which wish to be free and visible. It is a process of inner improvement by which technique frees itself of all frameworks, rules or categories. The figurative and the abstract are transcended in spiritual vibration. Physical light becomes spiritual light and expands to an immediate and intuitive level of awareness. The essence can be perceived directly, avoiding the routes of the mind.
Each painting is a centre of autonomous energy offering itself to our eyes to elicit reappraisal and meditation. It is a form of sacred link to reality, of which it celebrates the aesthetic aspect as a path to the Absolute, and opens new space for sensitivity and awareness through the freedom of creation.

The voice of the deepest Self of the artist looks to communicate with the deepest Self of the observer. The sense of mystery secretly shows itself, magnetically leading to this encounter. This energy uses symbols, signs, colours and space as a pretext to become an epiphany.

This encounter, an empathetic look, can show a side of us which is set aside, forgotten, ignored. We experience the present moment and cancel the distance. The encounter is placed in a timeless spiritual dimension which magically proves its existence. A new aspect reveals that the world poses no limits.

Yoga and Zen meditation have greatly influenced my painting as they have led to a deep internalization and to a sense of unity, at first with the innermost personal aspects, then with the Soul of the World. Painting is meditation, that is the act of yielding to an intelligence which is no longer personal, a deep complex feeling revealed in an image.

My portrayal is never purely physical, psychological or conceptual, it is above all spiritual because it rests on archetypal forms of Nature and evokes spatial and temporal Infinity. This attention to infinity creates lights and colours which evoke the sacred quality of life and Nature.

The point is a search for the extremely essential, to capture the main significance as intensely as possible.
Plain, simple means of expression are a vehicle for profound communication at subtle levels of consciousness: harmony as a human experience embodied in forms suggesting the natural breath of the universe.
The figure of the tramp is a metaphor of human existence, between the unease of limitations and nostalgia for infinity. My paintings on this theme are part of a cycle which aims to highlight the condition of human ostracism. From Infinity and the suffering this entails, using the simile with a tramp’s experience of exclusion from society. The archetype is portrayed in his state of desolate inner solitude, oppressed by the nostalgia for a dream of infinity: his image talks to our conscience since the possession of material goods, euphoria for technological power and vast scientific knowledge should never efface existential questions.
Words enter the composition and become part of the painting as shape and message, furthermore, just like the image and with the image it reveals the dimension of infinity from which it originates. It is an invitation to an in-depth analysis, through emotion, which extends to both verbal and visual language. These languages mingle creating a third language and bring together my poetic and pictorial dimension.
My painting involves listening, too, and leads to a general reawakening of the senses through its light. Words are a light trace of human existence in the Universe: they represent man’s desire to interpret it, to get to know himself. Words do not dominate the pictorial fabric, they are camouflaged, as though reabsorbed by cosmic laws.


Rossana Bossaglia (from Silvia Venuti I Giardini dell’anima, Mondadori, 2007)-
Right from the very beginning Silvia Venuti felt there was a strong confluence between manual work in painting and drawing and the rhythm of poetry. She experienced both as closely connected, she wanted to express herself in various languages from the use of light to that of sound, a sort of instinctive application of what we call synaesthesia. Yet her painting retains a specific quality of its own, and her portraits have a strong communicative quality: her painting is free and independent but it does not deny the deep emotional relationship with the subjects she portrays.
Her great sensitivity to nature has always led the artist to capture the connection between animals and nature in various manners; though strictly separate, sometimes hedges and animals appear to blend and bring the two worlds together.
It cannot be said that Silvia Venuti’s art has never changed, in fact over the years it has grown and changed using different techniques. In the 60s, experimenting with various techniques, her language was simple yet sharp. Her growing love for nature did not efface her interest in house interiors, that is artificial structures created by man.

Slowly, in the 70s, her style became more and more abstract, and her poetry, which developed alongside her painting, sounded more and more like a commentary to the latter.
It can be said that the relationship among her various artistic activities, this series of synaesthesias, is a perceptive way of looking for the sense – or better still, in the words of the artist herself – “the reasons of life”. This is the meaning of art in a context of physical survival: a means of connecting single beings with the deep, global reasons of life.

Laura Ferri (in Catalogo Generale La Pittura – Collezione Arte e spiritualità di Brescia, 2006)-
Silvia Venuti’s paintings often combine the pictorial dimension with the poetic, in a sort of echo of feelings. The lines “Coi sandali sporchi/ della sabbia del deserto/ scopro la rugiada nel cuore della foglia” (My sandals covered/ in desert sand,/ I find dewdrops in the heart of a leaf) are written across the painting to show how individual emotion is universally recognizable. Words become a dynamic part of the colours. Luxuriant nature is a mirror of the artist’s inner world, reaching out to capture its vital sap as a source of creative expression.

Alberto Mattia Martini, Corriere dell’Arte, 2002 -
La Nature est un temple où de vivants piliers/ Laissent parfois sortir de confuses paroles; L’homme y passé à travers des forets de symbols/ Qui observent avec des regards familiers. (Charles Baudelaire, Correspondances) Nature is a mysterious, chaotic “forest of symbols” which produces occasional murmurs, like undistinguishable, confused words. The poet wishes to dominate the chaotic intricacies of these mysterious signals, and catches the relationships and synaesthesia. Silvia Venuti’s ‘poetele’, her ‘poetic canvases’, describe this existential experience, interacting with the experience of the viewer, and flow into the extraordinary channels of the human heart. Her paintings in the silent space of the Studio D’ars, highlight the subtle link between the natural and dreams, creations of abstract human logic rather than existential truths, new forms and the encounter of different dimensions which nevertheless contribute to defining man’s identity and psychology. The conceptualization of nature and its sweet, nostalgic sublimation, unfold scenarios of silent wonder in which man finds his natural contemplative tension. Greens, blues and high clouds, sunrays…life seems to reach its peak, expressive but tragically frantic. Imagination is in life and in nature, all you have to do is capture its scent, set its limits and appreciate its sudden, unpredictable changes. These paintings show true love of nature, they are born of real experience and emotions or of dreams, using shapes and colours to sketch memories which cannot but relate to the present. In her paintings Silvia Venuti portrays tramps, mysterious, eloquent creatures who express a surreal meditative charm and reflect her state of mind. Painting and poetry connect to an “inner voice” and use dreams to change our perception.

Gio Ferri, 2007 -
Silvia Venuti, “The gardens of the soul”: presentation by Gio Ferri 2007

This monograph tells us a long story; at times it is formally contradictory, at times coherent, constant, incessant in its search for a Beyond, beyond the oft deceitful figurative presence of things. That Beyond is the soul itself as a metaphysical concept, but above all as an inner measure of things. The soul of things, the soul of a gesture, which colour and verse always immerse in the phantasmagoria of an earthly, cosmic garden, luxuriant and evanescent yet ever real: for the soul of things and gestures evaporates towards evanescent spaces.

In the 1900s, a century of great revolutions, artists worked on the disintegration of shapes, on the violence of abstraction, on fighting the deceitful nature of the eye. This followed on a period of total adherence to figuration to demonstrate their skills to those critics who accused them of not “knowing how to paint”.

Silvia Venuti progressed backwards along this path. In the 70s, following a few youthful examples of refined painting she was caught up in a creative frenzy, something like action painting. Her paintings are an essentially primeval vision; a sort of bang, the cosmic birth of a garden of stars and light, well before the creation of an earthly garden…..heaven on earth.

Initially from 1972 to 1975, this explosion was unstoppable. Cosmic forces (the title is Cosmic Waves) meet, invade the universes, universes con-fuse creating Metamorfosi (Metamorphosis), Diramazioni (Ramifications), Energie (Energies), Cortocircuiti (Shortcircuits), Graffi di Luce (Scratches of light), Cieli (Skies)…. These are the unambiguous titles of that period, powerfully vital paintings, expressing the violence of birth. Cosmic but also incredibly human, bodily, as in the unbelievably physiological Cuore Bianco (White heart): a white nucleus exploding and branching out into a complex arterial system; the roots of life.

But this age of demiurgic violence was on its way out and matter was looking for its soul. In this framework of pictorial experience (in the 70s it was also social and historical experience) in her Onde cosmiche (Cosmic waves) Silvia started looking for the evanescence of the Beyond. The violent reality of matter turns into a dream in a series of large acrylic spray-paintings in which the dust of history moves towards the Void of History itself not so much to bring a recognizable cosmos to life, rather an ambiguous inner universality, which is extremely poetic. The violence of gestures is exchanged for the lightness of the senses.

In the 90s, after the original chaos of creation, Silvia reached the sensitive soul of things she was looking for among the cosmic storms.
The figurative forms, though, reflect the primeval experience: some of her veiled landscapes seem to be made of air and the metamorphoses of signs and colour are no less striking than in the past. Nature in any case re-creates itself and shows its stratification in Parete: hilly and green it rises towards the sky sustained by a series of crags which announce scriptural adventures.

The word as form and message becomes part of the image in works such as Ognuno la sua storia, or Non assomigliare, Attraversamento, Certi amori or Il passo…
Not so much “visual poetry” as a conversation – let’s call it an animistic conversation – between image, or better, colour and writing. Colour, in as much as the conversation which is now earthly though dreamlike, as it was cosmic, is about colour as an unavoidable value. Even in 1967, in her “Appunti di viaggio”, an introduction to the monograph, Silvia claims that: “Colour must reach the crystal-clear purity of sound and the fundamental role of words in poetry.”

Clochard

1999
110x130

Clochard

2001
70x150

Il passo

2003
40x40

La via

2005
30x40

Marina

2002
60x80

Ognuno, la sua storia

2002
60x40

Omaggio a San Francesco

2007
80x80

Spazi

2003
100x150