Picasso and Braque, uncomfortably seated in a Parisian cafe, without having ordered anything to the “garçon” that in vain tried to get their attention, they were discussing about the double-edged sword represented by perspective. Painting has never changed over the last 400 years, one claimed. It never evolved, the other replied. The obsession with perspective, that vanishing point towards which every line of space had to converge, from the observer’s point of view to the horizon of the image, had no other effect than to paralyze growth, the discovery, and the genetic mutation inherent in art.
In an attempt to cancel the vanishing point, the two have freed from the chains all the art world that will follow.
In this regard, Gertrude Stein, a colossal collector and one of the first discoverers of the great artists who hung around Paris in the early 1900s, said: “Pablo, you changed painting”.
I would like to make this statement my own and symbolically hand it over to Clara, which her revolutionary contribution to the circus of art has given it all right, and who knows what shapes and colors she will continue to give it in the future. Erasing the horizon, the shadows and the lights that destiny had reserved for her, she has become a Cubist existence, which constantly reverses the prospects and annihilates the rules to which everyone believed they should submit.
Binomio. Couple. Two, but one. Pablo and Georges, Clara and Frida. Frida is the name of the rag doll in the guise of Kahlo, Mexican painter, who accompanies Clara in every adventure of her life.
Frida Kahlo, muse and ideological fuel of Clara, shares with her a certain degree of suffering, of course, but also an innate positive spirit, an attitude of an unshakable warrior, a solidity that even the worst of the weather could not waver. And as Frida decided to attend her last exhibition stretched out and inert on a moving bed carried from her home to the gallery between two wings of warm and enthusiastic crowd, so Clara runs, running ever louder, towards her next exhibition, with the its gait that some may seem uncertain, but to others it appears as the most graceful of Matissian dances.
Jean Baudrillard says: “We seem destined to the infinite retrospective of what preceded us. The whole movement of painting has renounced the future and turned to the past. Quotation, simulation, reappropriation. The current art is limited to reappropriation in a more or less playful, or more or less kitsch, of all the forms and works of the past, near or far, or even already contemporary. That’s what Russell Connor calls the rat of modern art."
Clara only reinvents herself, one brush stroke after the other, in a total artistic immersion, made of whole afternoons, hot Sundays and cold evenings in pijamas, always there, with a canvas in front, to communicate that she is in the world or, more simply, to be there. Clara speaks, and does so more than many long-winded people. Clara explains herself, Clara gets angry, loves, cries and cries, and does all this through her works. What can there be in the world more close to the concept of Art?
Her painting creates value, combines the dots between the lives of people, everyone recognizes themselves in her being.
And if the life that once decided to play with Clara now finds herself with this girl intent on making fun of her, then the fulfillment is complete. The circle is closed.
Art, now too often caricature of itself, cannot avoid to embrace this pure talent with open arms, raw diamond, transparent and at the same time colorful, like the clouds and the sky that color its huge and inimitable eyes.
And you are there, in front of her paintings, and you wonder why. But basically you smile. With the heart, first, and with the mouth to follow. You can not not do it, do you want to bet?
Marco is an italian artist born in south of Italy in 1986. All the major Italian magazines and newspapers have written about him. The most important Italian art critics have spoken at his exhibitions. In December 2016 he won the Italian National Prize for Contemporary Art “THE BEST ARTIST 2016”, organized by ArteMuseiRoma. He’s present in the 2017 edition of the “MODERN ART CATALOGUE G. MONDADORI” the year-book that includes the best Masters of Arts since 1900. In October 2017 the artist is present at the VENICE BIENNALE (Guatemala Pavillon - Albrizzi Capello Palace) with the exhibition “Grazie Italia”.