Review /

Marieta Chirulescu Fonti / Naples

The necessity to demolish the pictorial gesture and create scaffolding that functions as an energetic Laufstegen between a work in progress and another to be defined in post-production, represents the new scenario proposed by Marieta Chirulescu in the spaces of Galleria Fonti.

After a first exhibition organized in 2012, the artist returns to Naples with an imaginary that, once again, leaps over the boundaries of painting, giving life to an expressive device aimed at the creation of illusions, annexations, intertwinings, connections, links and secret combinations between digital reproduction and the auratic.

“I am interested in the intermediate space that is produced between painting and print reproduction,” Chirulescu explains, to define a process that integrates structures pertaining to photography and printing with those from a more painterly order. By way of an irreverent action, a change of course wherein colors draw a map capable of expanding into and reinstating the frontality of painting with electronic lighting effects, Chirulescu presents observers with an incandescent world, alarming their gaze and transporting it to a hybrid landscape of vivid surfaces, captivating signs, material grafts and erotic allusions.

Under the title “Cytwombly Cyfonti” — a play on words that combines the name of the famous American artist Cy Twombly, who lived in Rome, with the name of the artist’s gallerist in Naples — Chirulescu presents eight significant works (all made between 2015 and 2016) that outline a world exploding with light. The result is an oneiric atmosphere that captures signs and dreams — a cosmos whose forces make the separation of the data deposited on the canvas impossible.

by Antonello Tolve

(translated from Italian by Vashti Ali)