Maria Teresa Rizzi

23/04/57 ArgentinaThere is something automatic and repetitive in the artistic activity, an impulse to action dominated by the pleasure of making marks with no other significance than the immediate expression of a state of mind. The organization of these marks emerges later, as an immanent necessity of each individual work, in a process of visual articulation or balancing. Intuition is my guide. My images are based on a subjective exploration were there is always doubt, anxiety and a strong desire to arrive at a clear emotional path. There is no narrative or ready message in my work it should be taken as a simple contemplative experience. What begins as a play of staining and marking of the work surface later turns into an effort to find some internal order that has connections and balances often evoking the world of anatomical biology. Round shapes reminiscent of the seminal and the instinctive, and grids, webs and the linear motives that measure the organic world, fluid states, streams and grating grasping structures are some of the compositional elements. I work with many layers applying paint as much as erasing or scraping away, and in this process leaving deposits of memory silent and subterranean marks that create a sort of geology of my expression, full of allusions that do not have a specific reference. It is a process similar to that by which the layers of memory work in our minds. Some images survive like evanescent shadows in contrast with the top more present layers, with ambiguous images that evoke or conjure without defining a precise direction. The symbols and images take shape in a floating plane of underlying memories, with multiple layers of significance and references. It is a constant activity of creation and destruction; it is a work of registering processes of affirmation and negation, of forgetting and re-encountering. The final result: an archeology of memories.