Art Critic Liliana Condemi

ART CRITIC ABOUT THE PAINTRESS

G. Andreani; G. Argelier; E. Argiroffi; M. Belgiovine; E. Bruni; G. Cerioli; R. Civello; P. Crupi; M. Festa; G. Giudice; M. Govoni; G. Incorpora; R. Lana; G. Latronico; P. Levi; M. Macrì; M. A. Mamone; G. Manitta; D. Marasà; C. Paolini; E. Papa; C. Puntorieri; L. Reghini di Pontremoli; P. Sanna; S. Sorvino; M. Sestito; L. Tallarico.

"Liliana Condemi after starting figurative and landscape approaches – developments of studies and of first professional engagements- deepens the relation with the painting privileging above all the analysis of chromatic shapes, syntonized on iconographic-figurative tradition of descriptive naturalism read trough a pictorial technique that is nearer to experiences of the graphic arts and of the drawing. Today Liliana Condemi is working about an ideational and expressive and more mature production, where realistic view of the things gives way to a more free interpretation about that surrounds us: the objects lose their material consistence becoming shapes of the colour, chromatic aggregates of a space of environment where a free play of fantasy predominates"

(g. andreani)

"To the maturity of the vision places beside a refinement of elaboration that flatters itself to experience acrylic colours and more traditional oil colours, techniques at body, glazings, the use of the brushes, of the blotters, in a research of expressive techniques however modest, that ever is aimed at communication of intense human values"

(c. paolini)

"Yes the technique, the composition and the fantasy, but first of some other thing is the colour that hits us, charming and involving in painting of Liliana Condemi. Hers is a palette that is rich, vibrating, from one hand being able to give an extraordinary “thickness” to pictorial representation, and on the other to communicate sensations and unique emotions with contents that are never banal or predictable"

(p. sanna)

"Mix of colours that charm and that give the sensation of a series of “musical chords”. Is dynamic rhytm of the colours that gives a meaning to the shapes. Intense colours, that are almost enamelled with an extraordinary sense of the light. The painting of Liliana Condemi calls to mind some verses by Ungaretti: “every smell expands and sinks into the other colours”"

(e. bruni)

"The sign and the colour become arcane references, echoes, waves of psychic meditation, where feelings and images fuse in an admirable balance, where pictorial art becomes a means to express unique sensations"

(g. giudice)

"Moreover it seems to sense a strange smell with divine smell of the oil. A scented painting... It is a scent of other galaxies, a mix of orient, of sidereal spaces, being wonderful and unsettling. Another side is the movement, living dynamics, as if a kind of metamorphosis fed continuously the breath, and then every time you see the painting you seem to see it different and certainly to see it “move”"

(c. puntorieri)

"It is about a process of mental organization: because is in that field that catches the spatiality, the dimension of shapes, the compactness of colour, and thus keeps formal perfection high, as an indicator of lucid and cognitive analysis. A rationality which does not compress and which does not limit its intuition; on the contrary it is about the capacity to recover and to keep it, trough a rigorous technique that points on essentiality and on clear geometry of the shapes, on purity of the images, that just being static appearances, offer themselves in a worrying way letting sense deeper and more penetrating spaces that undoubtedly drive to touch human interiority giving a stimulus for new imaginations"

(m. macrì)

"In times when modern art seems, after “the acrylic tie” by Domenico Gnoli, the buttons and the medals by Enrico Baj , the holes by Burri, “the shit of artist” by Pietro Manzoni, “the study for latrines” by Valerio Adami in Times Square, the “cuts” by Fontana and the “ wrapped packets” by Cristo, it could not tell other things, here it is that a young painter come from Condofuri reveals a new way , that starting from Quattrocento passes over the “ismi” arriving until ours times"

(g. incorpora)

"We can read clearly the surrealism of the works immobile scenography where the shapes seem to float as in an atmosphere without gravity, while magic glazing of the colours opens the doors to a spiritual abstraction. The atmosphere of paintings is similar to the instant that precedes the event where people can perceive powerful magnetism of the Universe that Liliana Condemi seems to be able to control within the limits of the quadrature of the paintings as if the same had wanted enter forced by flatteries of a magic painting"

(m. a. mamone)

"Liliana Condemi can be noticed for the purity of her formal scansions: her inventions that are just in the perspective of a bold imaginative of naturalistic referents, have a substance of light that gives the illusion of a timbre demarcation even if every detail presents (well seing) an intense and thinner chromatic scale"

(r. civello)

"Clear geometries of the soul, being sinuous and soft, block existential and cosmic moments, transforming technical wisdom in lyric moments that are full of emotions, so that the effort of the artist seems a quiet and magic itinerary in an inner labyrinth, that sometimes is disclosed and fleed by a Mediterranean light that is the root and the content of an intuitional unit of whom puts himself in this “dreamt” journey in an impossible World. And then it is peacefully undertaken and poetically in evolution"

(m. festa)

"A painting which passes over oneiric border created with delicate harmony in a following of emotions. It is a metaphysical vision of unlimited spaces that have chromatic mixes being deeply persuasive"

(m. belgiovine, g. argelier)

"Enchanted painting which is enchanting by this reason"

(a. cambria)

"Working in this way , the artist passes over the limit of the avant-gardes to rise to an own pictorial conception . In Liliana Condemi the painting goes beyond the representation of the object, that is to paraphrase Kandinskij “are the same objects that are born from the painting”. A touch with the world that smells of primigenial and that in its tone expression follows a series of contraction and of dilatation, respectively of warm colours and of cold colours”. This is an abstract atmosphere of her painting, but adds to this that mysterious aura of the surrealism, “the thought in images” using the same Words by Magritte"

(g. manitta)

"A journey in a metaphysical and mute World, that is intersected of reflections, of contortions of sign, “mosaic breakings into pieces” and explosions of temper, seem to be a very important prerogative for the paintress, that drives us by hand among rugged but soft draperies and Worlds in constant balance between exceptions of the possible and changes of the unreal"

(m. govoni)

"The artist does not know the hardness of the reef but instead the lightness of a wave that is suspended, being grazing to the line of the sea; the painting of Liliana opens itself towards the World, dialoguing with its contradictions and reassuring it. Being far from citations and hesitations, the painting of paintress Condemi goes ahead for its direction in certainty not to be misunderstood, seen that is solid in its formal principles. And then we can tell that in the case of this artist nothing belongs to the chance or to an aesthetic or shallow choice in the convinction that the heaviness and the contradictions of the World can be told by the practice of the lightness"

(l. reghini di pontremoli)

"The artist seems to have a preference, trough the explosion of the colours like sounds, for the respondence to the painting of emotional categories that usually are linked to the music. And then after surprising samples reached by artistic avant-guardes, that were poetical and musical (Kandinskij and Schoenberg, Moreau and Debussy, Balla and Stravinsky, Boccioni and Busoni, Klee and Morgenstern), this Calabrian artist does not consider extraneous for her painting, the assimilation of other shapes, being animated, that are not iconic and are not semantic, moved by a sound rhythm and by a timbre tone, in full consonance with the music. That historical and scientific repeat helps us to understand the reasons why Liliana Condemi, an artist that is careful about lyric and separated values, has understood in an expressive autonomy the idea to make visible the motions of soul. Being moved by inner-outer relation, that is by the search for balance, that is not only responsive of light-space, but that can also transmit the sensations, activated by those inner voices. And then geometric images by Condemi, being concave and convex, lose their rational signification trough the explosion of that fresh and bright colour, that often has roseate and orangey red timbres that call the shapes of nature, blossomed in a virtual grass and that has infinite dimension of the space. An unmoving space because is inhabited by lights and voices that liven up its width, making joyful and vibrant and -not illusionistic- the atmosphere of metaphoric environment. In this synesthesia of sounds-colours, this Calabrian artist confirms that graphic sign that delimits geometric shapes and that acts like a medium of inner-outer world became a stylistic pattern that can interprete pictorically the reality, and in the same time that can amalgamate perceptible musical and sensorial, tonal and decorative values with that visible and plastic dynamism of the shapes"

(l. tallarico)

"In conclusion this is a painting which we like not only but that wins and persuades at first sight, how could we tell? It goes into, makes think, feed the dreams remaining into us. And in times when also the art very often needs every kind of promotional and advertising alchemies to attract and “to remain”, really this is not a little thing"

(p. sanna)

"Liliana Condemi ha la dote di utilizzare la tavolozza con fare virtuoso, attraverso simboli di arcana armonia, in un gioco continuo di rimandi, di contaminazioni di forme misteriose, che si attivano in uno spazio inventato. Il percorso porge allusioni di foglie, fiori, cuori, maschere, nastri leggeri, che si muovono come se fossero sospesi nell’aria. Tramite questi elementi, l’artista costruisce metafore che paiono volere ripetere particolari della bellezza della natura, dei suoi colori, ma anche un mondo di forme oniriche. È autrice di visioni che hanno del prodigioso, come la composizione Primavera, di solare freschezza. Il nonsenso bizzarro, che nulla toglie alla poesia dell’immagine, ha certamente una matrice surrealista, che l’avvicina a certe tele di Salvador Dalì, come nel dipinto Volami nel cuore, da cui si capta un acume coloristico di personale sapienza. Liliana Condemi trasferisce sulla tela un calcolato intrico di forme, che vivono di luce propria, come in Metafora. Di radici colte, la pittrice ama il senso della sfida, non ripete mai lo stesso quadro, narra la presenza del sogno tramite una scrittura che si forma grazie a una sapiente applicazione del colore"

(P. LEVI)