POSSIBLE FLOWS (English text) by Claudio Cerritelli

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Claudio Cerritelli 2015, critic, essayist and art curator, professor at the Accademia di Brera, Milan
POSSIBLE FLOWS
In Olga Danelone’s art, the controversial paths of space are always linked to doubts encountered by reason while moving from memories of the past to the implications of the present act.
During the course of the graphic and pictorial research, the artist experimented with various codes, signs suspended between the figural representative and the abstract image , visions produced by vigorous formal summaries , knowledge open to the intrusion of the unpredictable, to immediate journeys related to the sign and to the instantaneous flow of the unknown in the folds of constructive thinking. The persistence of fantastic elements can be noticed in every work, when the need for geometric structure of the image prevails as well as when the vacuity of emptiness suggests the loss of control of space, to the dismay of threads of reason which wander in the undetermined, amongst air bodies.
Sign, line and color vibrate and create stratifications and weavings, light brushings and imaginary trespassing in the anomalies of what is visible, in harmony with nature and the invisible forces which inhabit it, corporeal emotions which are worth more than any reasonable prevision singulair pill.
In fact, the combination of realized works, from the nineties until today confirm Danelone’s deep interest in the synesthetic values of the visual image, in her vision, the simultaneous perception of different ways to assimilate space prevails, the mixture of relations which belong to common places and to social life experiences.
The different sources of research amount to a growing field system , situations that examine the development of shapes through the connection of analytical, imaginative, aesthetic, and scientific hypothesizes, sent to keep the mental and physical processes of painting in mutual tension. Instinctual signs, linear patterns, evocative colors, primary alphabets, chromatic environments, object inventories and symbolic icons: these and others are the trajectories Danelone has followed to communicate in different ways the meaning of her art, harmonious variety of thoughts made observable through painting. The recent research cycle is formed of a series of works (tempera and Indian inks on paper of different sizes) dedicated to the scientific concept of “trophallaxis”, iconic structure of the cohesive, exchange of nourishment amongst insects, reference to enunciate a similar configuration of the processes of communication. The analogy between the “trophallaxis system” and the field of urban activities (junctions, crossings, roundabouts) produces images transposed in the artist’s original pictorial code, sign-chromatic language- characterized by the sense of flowing and by vibrations which capture the perceived sensitivity in relation to totality.
Each work obsessively observes the trophallaxis pattern through paths which are reciprocally grafted, energy coming in (but also coming out), uninterrupted flows inside and outside the map of intertwining which fix their temporary identity with linear overlapping.
The space painted by Danelone is real and virtual, concrete and illusive, a place of exchange and contact, visual metaphor to represent the changes and the relational connections which are the basis of common interactive vision.
Time, space, proportion, disproportion, flow, and loss are concepts that are rethought and reveal the behavior and motor skills conditioning – from the biological roots to the sociological reflections- are connected by a continuous convergence effect between the natural and the artificial.
The conceptual pattern of “trophallaxis” is explored by the artist to reflect upon the intense state of lability of perception, with the hope that the relationship between man and the world can defy the invasive pace of serial depersonalization to find – through art- new areas of meaning.
It is in this spirit, that Olga Danelone’s visual poetics reassesses the function of imagination as existential growth, by offering a story through images where the idea of mutual nourishment is an inescapable social tie. In the series of orientations“as the crow flies”, traced in these works, the reader can feel part of the “trophallaxis world”, and can freely travel in the alchemies of the visible, by establishing an emotional conversation with painting through the flow of its possible worlds.