Quella sfumatura di intensa dolcezza Painting

The italian artist Anna Maria Cesario has been painting for over twenty years, proposing an authentic painting, in the constant search for a personal semantics that goes beyond common language to overflow into a symbolism self-induced by her own experiences. Inner reflection is accompanied by the sensorial interpretation of the image represented on the canvas, stimulating the user to abandon the rational etymology of the obvious to follow an internal journey whose goal is not known to him. In figurative works, the geometric aspect of the shapes and the use of color tend to abandon the pointed over time, giving life to more rounded figures, while the themes take on a more personal and intimate expressiveness, inexorably painful. Her work explains how Cesario explores the poetic art of form which, enhanced by her emotional intuition and creativity, is fascinated by the psychological and emotional life of man, transmitting his existential drama. In dream characters, chromaticism is the emotional element that leads to continuous and innovative stylistic evolution. It marks the symbolic transition to a new condition of living and becomes an expressive force, while the figures become a penetrating vector of current messages, such as man's suffering and the fear of living. The artist meditated for a long time on his own image, giving us bodily moments of refined accuracy where art develops as a logical consequence of his intimate thought linked to the body of the woman he dissects with surgical precision. The faces, the eyes, the breasts, the vulvas arise from the works as if to ask for help for a revolution that began in solitude and wants to open up to others. The use of color and the technique used emphasize the maturation process by investigating the bodily source of pain. She works expressly with acrylics or oils, resulting in contemporary paintings that fluctuate from pure abstraction to figurative surrealism. - The works i have carried out in recent years are inspired by reflections on my existence and the involution of my approach to life as a result of moods dictated by external conditioning. The grouping of these works in macro-containers highlights the intent to give a name to the emotional stimuli that moved my hand on the canvas.