The art magazine la TOSCANA nuova has described my paintings.
See the original Italian article below.
The art review is here translated into English via Google Translate:
Lise Zia The energy of conflict between shape and color by Daniela Pronestì A face emerges from the bottom of the canvas like a mysterious presence. He is a young man, he has big eyes and he seems to hint at a smile. It is not immediate to understand why he is there, in the middle of a painting in which the colour is the master. He seems almost out of context, just happened to be there chance, perhaps an error by the artist, a sketch left half-finished.
Looking closer, however, we understand that it is indeed his presence to determine what is around him. Getting started by the way in which the brushstrokes unravel on the canvas, proceeding from top to bottom and vice versa, vertically and horizontally, and then again oblique or divided into fields or spots. A rhapsodic, fragmentary movement, more instinctive than meditated, as in a piece of music that alternates moments of pause with the acceleration of the rhythm, and then resumes its journey with an unpredictable and discontinuous trend. This is how the Danish painter Lise Zia conceives the canvas, as a field of forces often in conflict with each other, the site of a struggle in which the figure risks being erased by the color and the latter, in turn, it rebels against any constraint by occupying every centimeter of the painting. Finding a balance, a possible coexistence, is not easy.
You can try, as Lise Zia does, to reach a compromise by making it look as good as possible how much color each conquers its own space, without therefore opposing each other but communicating in a mutual correspondence. If at first glance you would say that the color lives on with its own life in these canvases, a more careful look shows, on the contrary, how the chromatic discontinuity of the painting is nothing other than a reference to the equally discontinuous contours of the figure, which, in effect, is more of a sketch than a real drawing.
It is therefore a question of understanding why the artist opted for this solution, what in his intentions, does the color add to the figure, what meanings, and vice versa, how does the figure intercept the vitality of the color to be even more expressive. Lise Zia's career offers a very clear clue in this regard: her beginnings occurred, in fact, in abstract painting, in particular in chromatic abstraction, until, some time ago, she began she tried her hand at the figurative, looking for a way to combine both genres. The result is what we see today, that is an expressionist style of painting, with bright, luminous and often dissonant colours, vigorous brushstrokes and an approach so to speak "intimate" to the figure, in which dreamed visions, interior states, fragments of daily life take shape. And this is precisely the point: to transfer into painting what is inside, deep down, calling the means of painting a be the intermediary of this confession, with all the difficulties that can arise from it. It is not easy to govern color, make it "musical" by intervening on assonances and tone contrasts, make it vibrate thanks to powerful and energetic gestures; even less simple is matching color and shape in a manner not obvious, creating a continuity more of meaning than of form. But it is a risk to take - Lisa Zia knows this well - to arrive at an image, the finished work, in which the artist can recognize each other; an image, in this case, complex and multifaceted that mixes life with color to make them resonate together in a single song.
