Giorgio Pilla’s presentation

An eclectic artist, I would say eager to experiment techniques and languages different from each other but linked through the imaginative and propulsive force of the artist, in order to converse and communicate with people by means of cultural operations which share the intelligence of artistic discourse, the only hope for our world to escape from the impending barbarism of ignorance and vulgarity.

Rosanna Basilio makes use of several means of communication, in the hope of being heard by as many individuals as possible; not by people as a mass, but by a single interlocutory mind endowed with free will. In the pursuit of this goal, Rosanna Basilio uses, among other techniques, a type of “arte povera”, that is to say textile printing, examples of which are just before our eyes. These works remind us, because of their autonomy of language, of other examples of a great artist from the recent past, ALIGHIERO BOETTI, famous for his “Mappe” (Maps) and “Arazzi” (Tapestries). Here, Rosanna Basilio does not mean to trace the same colloquial ways, yet her works are worth the comparison for the technical/aesthetical quality which one can perceive and which somehow relates her to the great Artist. Her hand-print velvets resemble poetical and sometimes philosophical lines that celebrate the world’s beauty: see ‘”ltana” (Turret) or “Sant’Agostino” (St. Augustine), where the thoughts of this Father of the Church seem to be the pieces of a jigsaw puzzle under construction. When using other materials, she shows competence and remarkable technical skills by matching natural products like steel and glass, whose combination gives birth to works that are unique for both shape and mood, such as “Intrecci Caotici” (Chaotic Weaving) and “Arpa” (Harp), wonderful examples of mixed technique with glass modelling, conveying a sense of existential mystery.

The artist does not forget, however, that she is a painter and a sculptor, and by means of this techniques she offers us works resonating with unforgettable pathos. Let’s just think of the painting “Percorso della vita” (Life’s path), with a cubist/futurist  technique, and a harmonious, yet alienating, “Torre” (Tower), realised through symbolic transparencies, a symbol, we believe, of human transience.

Giorgio Pilla

Critico d’arte