Critics

THE SHAPE OF MEMORIES

by Tiziana Tommei | Art Historian

 

An incessant dance liven up the objects painted and modeled by Sara Lovari: elements from a lost time, which feed on an inner charge, characterized by the emotion of the sign and the overcoming of the two-dimensionality of the canvas.

The artist infuses life in simple, everyday objects, which are invested by a process of ‘anthropomorphism’, only to take the value of human feeling.  So the brush strokes imbued with energy give lifeblood to her subjects, while the techniques of collage and assemblage return their form, texture and volume.

The combination of tradition and modernity is a distinctive aspect of lovarian artistic expression, like the vitality of the objects, which denies the definition of ‘still life’: umbrellas, lamps and all the things that belong to ‘her world’ come alive and, like cartoons, emerge from the canvas to invade the living space of the observer.

The most recent works of the artist give proof of evolution in action, towards a polymaterialism increasingly accentuated and a constant breaking of compositional balance. The folds of the paper and the drippings of color communicate the continuous and relentless search for new compositional structures and its own formal balance.

The reference to Proust’s Recherche is inherent in the recovery of memories and emotions overwhelmed by time, which is not feasible through a mental or rational process, but only by “the intermittence of the heart.”

The artist with his work, wholly directed to a personal and emotional feeling, coming to redeem the matter and to breathe life into ‘things’ only apparently marginal and obvious, as, indeed, full of potential memory and feelings able to mark the passing of the subjective dimension

It gives a new dignity to everything which shapes: she paints in a horizontal table to place it, as a mirror, in front of the observer, raising it off the ground and moving it further up the line of sight – implicitly inviting to look it and you, at the same time.

If in the life the will of closing in an ordered geometry and pre-events and the world is an utopia because of the action of the variables etched by the chaos, in the art of Lovari, every overlaps, bleed, stain and casting determines, formally and metaphorically, the living space to re-creations – nature never died, composed of humble objects, translated into subjects, in which the humanity is not physically visible, but always present, with its history and its experience.

THE ART OF SARA LOVARI | REFLECTIONS ON A MAGIC MIRROR

by Anita Valentini

 

The Tuscan painter Sara Lovari recently proposed a series of paintings dedicated to  sculptural, furnishing and architectural “presences” that are inescapable part of her life and of her memory.

“À la recherche du temps perdu”: so you may see the painting of the Lovari. Actually this is not a recherche, but rather a discovery of places, monuments, objects and whatever else belongs to those that commonly are called the roots of culture and tradition.

Jugs, coffee pots, typewriters, but also houses, farms and shops vintage sudden peep from the thick brush strokes.

With modern attitude of course, but who prefers to live among the signs of past and, even, participates in the life that moves around the Tuscan architectural and historical subjects, the eye of Lovari fixed on the canvas her “vision” of “things”, inserting material elements that are apparently there just to reveal, rather than conceal, the modern effigies of the” icons of our recent past”.

The artist adds new dimensions to objects, sculptures and the ruins of the houses, thanks to a precise and accurate choice of the views or detail and a conscious use of chiaroscuro. We read in the paintings a “contemporary” atmosphere made of oil and spatula painting and grains of material that block the past not to protect, hide or give an impression of decadence, but to revive it in exaltation of recognition that the present does of the past. This matter is a sign of the present time that, with obvious respect, presents its “previous period”.

Sara Lovari gives us a timeless landscape full of fable and Arcadian tones, reminiscent of a past not far away and nevertheless unreachable. The play of light, where brightness and color are used as anxious mirror of the story, a wonderful, silvery moon disc or a scorching sun illuminate those features of an object of use, where we recognize the traces of marble, metal or stone of our ancestors, who knew how to give the world an indelible arts and crafts ideal.

The paintings of Sara Lovari arise from the need to live the recovery of objects, landscapes, places: they are not copy reinterpreted through a different artistic medium, but narratives or extensive notations that are inspired by those particular emotions that she has perceived instinctively and who transferred in her paintings which narrates poetic tales mediated by her creativity.

Her painting interacts with objects, risen to models, sometimes playing through evident jumps of scale or with dripping, and adds to the eurythmy of a picture an arcane magic appearance.

And yet, in some of her artworks, the nuanced painting, rich of light tones, promises a more lyrical and poetic history. The scene becomes, therefore, often private and intimate; the same subjects are loaded with magic and symbolic meanings. And in some paintings the pictorial material becomes lighter and essential, leaving space to influences due to the Informal, a “port” to which the art of Lovari, in pictorial series different from this, often welcomes landing.

She has an exciting vision: is the human feeling that gives a sense to the natural environment. Nature is not a reflection of the creator in the image of creation, but is a stage of life.

This painting does not solicit so much the memory, how much, influencing it by poetry, deceive it: the illusion that memories are not such, but are extant beating, and that, therefore, the contemplation of beauty is still possible. Its pictorial perfection is combined with an ideal factor and can be fully formulated only in the purity of the idea substantiated by sensitivity and passion entirely contemporary.

Vestiges, but also sounds, words almost whispered from humanity past and now absent, who conceived, sculpted or enjoyed those common and precious objects and that the artist magically makes the observer to perceive by her creations, asking him to get into the painting to wander a unique atmosphere.

It’s in this atmosphere that Sara Lovari captures the light of memory and portrays what remains of the past, imbuing her works with a technique where dreams and reality mingle with a thin veil of nostalgia for a past time, for a life that never again return.

The artist’s painting is not the story of the daily life but the recovery of the “sense of history”. To this noble end, as a source of inspiration and theater where express, Tuscany can only be an ideal place for a young artist, that for long periods lives and works abroad.

 “ART FOR ART. WHY NOT? ART FOR LIVING. WHY NOT? ART FOR PLEASURE. WHY NOT?

WHO CARES. IF IT’S ART” [Paul Gauguin]

a cura di Alice Comunelli

 

Sara Lovari has been pursuing for several years with the intention of becoming a painter with energy and seriousness. She is characterized by the love of simple motifs, which draws liberally from her land, Tuscany. Her works represent moments of real life through the objects of her world, even the most humble, like a stuffed fiasco, an old mill, a peasant shirt. Her palette is mainly characterized by shades of brown, resulting in perfect agreement with the graphics with intense black shadows.

Sara is strongly attracted by the simple life of ordinary people, her personal life experience has led her to live for many years in the unspoilt valley of the Casentino where, through contact with nature and the ancient traditions of the harvesting and threshing wheat, of the harvest and life of the wood are enclosed by the artist in the colors and the forms of her paintings.

It’s easy to meet Sara on a sunny summer day pledged to painting out of her small atelier of Cortona, the artist creates her works in one go, realizing even in one day a masterpiece made entirely en plein air, in fact for her It is more important  the immediate impression than the realistic depiction.

The works of Sara Lovari represent the sentiment of an heart which turns into a form, whatever it is.