VIEW IN MY ROOM
Dorothy Painting
Italy
Painting, Acrylic on Canvas
Size: 57 W x 31 H x 1.5 D in
About The Artwork
“The artist tries to reveal what we already are before we know it ourselves. Head, heart and heroism are what we all share in equal measure. You merely have to learn how to use them” Sara Zamperlin continues with her project on fairy tales, this time devoting herself to Lyman Frank Baum’s The Wizard of Oz. To bring the fairy tale into reality and reality into the fairy tale, the artist has to meet people and to listen to them. It is an encounter of body and mind in which each one confides in the other. One ready to give of itself, the other to welcome it. An encounter that brings forth something that even Sara herself is not aware of. Only in this way is it possible to crystallize the idea which will form the thread of her entire project, in which research and in-depth analysis are crucial for reaching the final phase – the creation of her painting. Each project is, for Sara Zamperlin, one of discovery, insight, and renewal. By continually rising to all the challenges this type of journey demands, she feels herself to be utterly transformed. Thus it is that art also helps us to be free by stripping us bare. In front of ourselves – and in front of others. This action of being stripped bare is the first step we have to face. In her Wizard of Oz project, the artist’s aim is to reveal what we already are before we know it ourselves. Head, heart and heroism are what we all share in equal measure. One just has to learn how to use them. And there are those who are led into doing just so, compelled by traumatic life-events. Which the subjects she portrays have lived through personally. The artist’s long path of research starts with the selection of the subject by advertisement. This is followed by a face-to-face interview and photograph so as to capture their expression in an image that will then be carried across onto canvas. It will be Sara Zamperlin’s brush strokes that liberate the soul of the person-character, made humanly imperfect by means of the elimination of contour and use of drizzle paint collage until the subject becomes one with a background in which it seems to abandoned to itself, as if in a hug. With the project on The Wizard of Oz, the artist’s intention is to reveal what we already are before we know it ourselves. Head, heart and heroism are what we all share in equal measure. One just has to learn how to use them. And there are those who are led into doing just so, compelled by traumatic life-events. Which the subjects selected by Sara have lived through personally. The very act of confronting one’s self, and recognizing it in the artist’s brushstrokes, is a fundamental step towards the liberation of one’s own self.
Details & Dimensions
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:57 W x 31 H x 1.5 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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“Since I was a child I have never been able to bear perfection…” “I offer part of my very being to the other person and as I paint that person I relive their life with such intensity that the picture no longer appears static and instead speaks to the deepest part of me in quite an amazing way. I like talking to people, getting to know them, and taking part of them away with me. And if I find in them a desire to break out of normality and to really rise to that challenge with all their being, then they become by necessity an integral part of my work.” Being Sara Zamperlin means being born in a hamlet of Legnago, called Porto, beyond the River Adige. Or over here. It depends on your point of view. It means being the daughter of two art lovers: my father, a carpenter always busy fashioning objects with his hands, and passionate about photography; my mother, a devourer of books. Both quick to grasp my bent for drawing. So much so that I managed to enroll on Signora Nelda’s adults-only course. I was 7 years old. I still remember the workshop’s rooms: the first one where one did drawing from life in pencil. The second, the one for oil painting, where only those who had reached a certain level were allowed. Its smell, the creaking of the door, the “hair-bun” – all are still there in my mind. It was then that I realized that I would become a painter when I grew up. Being Sara Zamperlin means walking with conviction towards a specific goal. Driven by my dream, I first enrolled at the Institute of Applied Art, and then continued my studies until I was qualified as a technician for the conservation, maintenance and restoration of objects of art. I thought then — and I still think – that I made the right decision: that bringing a painting to restoration, or rather, restoration to a painting, might be the precisely the right complementary arrangement to fit in with my own aims. Which were to maintain constant contact with the artists of the past while at the same time experimenting with my own drawing as I sought a particular artistic form. In my own style – something which did indeed eventually emerge. At the beginning, the forms were abstract. I was trying to communicate by bringing out my feelings through line, colour and subject matter. In the meantime, I opened my own restoration and painting workshop, just to satisfy both sides of my being. My research, however, ended up going nowhere.
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