CERERE Painting

- Dostoevsky used to say that the Beauty will save the world. It goes without saying, therefore, that it is in our interest to save Beauty. This could be one of the many meanings of the title that the young artist Valeria Ferrari gave to her exhibition, "Save the Beauty", held until a few days ago in the Civic Tower of Cisternino. As soon as we enter the room we find her, who like a feminine version of Virgil guides us to the discovery of the many faces (and bodies) of femininity in various eras and cultures, each of which has something to say to our time. " It all started with 'The Echo of Silence', with which I participated months ago in the online competition 'Michelangelo Buonarroti', where I won the critics' prize (for me a greater satisfaction than that of the public prize). The painting was combined with the poetry of a famous criminologist, Nicola Longo, who spoke of a woman who was abused. I used chalk on oil to give the idea of a ruined body, a ripple of the very matter of which it is made, a violence that only now we begin to talk about but that for years has been a silent crime, that crept between us without being mentioned. One could say that the idea of an exhibition dedicated to women started from there. We have 'Ninhursag', the Great Sumerian Mother, a symbol of the woman meant as a mother of the whole world. In all ancient cultures (Egyptians, Sumerians, Celts, Aztecs, etc.) there is always a mother, then a woman, as the origin of everything, as if all those populations were drawing from the collective unconscious the idea of a mother of all of us. Then there is 'Gea', made on a piece of wood that I had found in the sea. I really like to reuse materials because of the idea behind them, like a life cycle of death and rebirth. There are also several polyurethane paintings, the first of which is 'Pandora', still a reference to Greek culture. On a wooden base, then on a natural base, I made a work using ebony fragments (taken from the guitars of some of my friends), mixed with glass and cement". Apparently, you like to relate materials that apparently have nothing to do with each other ... "Of course. In nature there is dualism, but I try to overcome it by creating a synergy between separate materials. The other polyurethane work is 'Sexocracy', or the woman seen as a sexual object. The woman is in a static position, almost of constraint, because often we women are framed in a single vision, the sexual one, but we can be much more, only that we keep it for ourselves. Somehow it contrasts with the diptych dedicated to 'Leukothea', Celtic goddess (a religion that strongly believed in the correlation between divinity and nature), the White Goddess who represents our most animal part. She is a woman proud to be able to feel free, in the first part of the painting we see flowers sprouting on her intimate parts, and in the second part those flowers hover and free themselves. Both mental and physical freedom are important. Here too I have put together oil (which represents our most material part) and flowers (which represent the most vital, our most sensitive perception of reality that we should listen to more often).

Painting:Watercolor on Canvas

Original:One-of-a-kind Artwork

Size:15.7 W x 19.7 H x 0.8 D in

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