Sonia Giavitto

The climate emanating form Sonia Giavitto's art gives the fascinating atmosphere of memory, of nostalgia for a world which lays deep into conscience. The result continuous is and slight transfer of the observer mysterious into dimension soaked in drama and tenderness, where the warnings of the artistic realm tend to exorcize and to placate into the concreteness of shapes, and in the relation, at first turbulent then reassuring, of substance's density. Sonia Giavitto follows a path of symbols researched from experience, and turned to cultural elements that go right to the inner core of knowledge with it's strength and power. These aspects are highlighted by the cuts in her sculptures, who witness deep existential fractures. This is an esoteric path expressing itself in an abstract and figurative essence that enhances geometrical constructs. The verticality of the mysterious parallelepiped houses represent the sculptress effective project tense in the task of a plastic analysis, chromatic shines produced by the contact with the flames on walls, in the red of the roofs, and in terracotta's beauty. This compact composition of works is sweetened by the softness of the kiss in a formal rhythm seen also in the bust of a young man lost in his thoughts in the twilight. The Angel, a shaking subject of modem art representation, a crucial moment of Benjamin's Angelus Novus ,turning back to History's ruins. Of a history that a reflecting scribe engraves on a white tablet. The artist produces a dream atmosphere in the married couples' series, a distant recall to the Etruscan culture, taken from her master Nino Caruso. The images are built with elements which identify the characters and their roles, and show their plastic experimentation essence. The surface is probed, scattered in order to enhance the sculpture's tactility referred to an archaic image of Giavitto's works. The nature of the material is of primary importance, and hands back to terracotta's chromatic effects created with the fire, the sensual browns, the reds, and the seductivity of the blacks. These colours talk about the basis of the artist's education, especially in some of her feminine images tracing back to ethnical populations now object of historical studies. The artist doesn't refrain from amusement, representing masked characters who play a game of seductive scene construction. The artist produces a plastic universe of signs, that more recently draws from an abstract world, sometimes with geometric figures, and other times with simple life elements turned into artistic forms, in a technological context such as computers and its integrated circuits.

Luciano Marziano