Hug Artwork

Born in Switzerland, she obtained a degree in Literature and Philosophy at the University of Salerno. Free from forced academicism, she cultivates her passion as a painter with great success in parallel with her work as a high school teacher of Italian and History. His creative process focuses on a language capable of ranging with ease from the figurative to the abstract, to the material, whose themes are mainly the beauty of nature aimed at a dreamlike and unconscious dimension. D'Elia's stylistic research begins with impressionist landscape painting. Phase characterized by a mastery in the execution of light on matter with a trait comparable to French leaders such as Pissarro and Renoir. Having explored all the facets of the impressionist language, its style is enriched with the inclusion of scenic components with surrealist features. Elements of dreams and the unconscious enter his landscapes, generating sensations of dreamlike transcendence; the spectator therefore finds himself transported from the safety of the physical world to new and unexplored existential planes that are only apparently meaningless. This hybrid convergence, between conscious and unconscious, represents the main theme in the painter's mature phase, capable of composing detailed cross-sections of the natural world, inserted in a dimension devoid of space-time references with metaphysical hues, recalling the noumenal dualism and phenomenon of Kantian philosophy. Representations of rational and irrational thought coexist in the language of D'Elia whose poetics is similar in graphic scenes to the painter and theorist of abstract art Kandinsky. The painter's art progressively metamorphoses from the figurative to an informal style, whose graphic sign is completely annihilated to make room for extensive chromatic backgrounds with vibrant and energetic brushstrokes. The investigation into the unconscious abandons the relationship between man and nature to acquire sensorial nuances, where the artistic medium becomes an emanation on canvas of the user's own interiority. However, her creative mantra pushes her towards an investigation along deeper substrata that from the tangible world point towards herself. There is a marked sensitivity which, alongside a technique refined over the years, has allowed her to transfigure the canvas in the mirror of her own unconscious into conceptual, three-dimensional and multi-sensorial works.