In conversazione con Stefania Puntaroli

Double skin_2

The complex of the works by Stefania Puntaroli (1972 , Prato) seems to advance a fundamental dialogue for the reality of the modern women artists, by weaving the historical lesson of Carla Accardi, beyond differences and variations of the Abstract Art.
This conversation spontaneously took place, moved by the natural flow of her vision which interprets the heritage of a cosmological vision, and moreover, magnetically continued through a clear concatenation of subjects where her works find shape and direction.

Double skin_2

Double Skin#2, stampa digitale giclée, 21x30cm, 2013

In this framework, Stefania Puntaroli accompanies us through the maze of her imagination and kaleidoscopic vision, which all in all reflects a precise sequence and an exact order. This deals to the series Black papers (2013, silver on paper) in which the artist is dedicated to the visual representation of the Fibonacci sequence – 1202, and the Golden Section, referring to the perfect and universal  constellation: the work absolutely fits into respect for the historical tradition, using his personal trait par excellence – the imprint of the Roman cabbage on the surface, skillfully manipulated or otherwise freely interpreted. The general impression is that this primary element, because of its specific form in nature, and its correspondence to the Fibonacci numerical sequence, which is similar to a fractal in shape, is able to collect different aspects of the artist’s inventory, intended to a constant research of the origins throughout the feeling of nature, contained in an exact structural geometry. This factor is similarly a refined balance between Nature and Culture , which is the primary matrix that brings out the radical choices of the artistic act , which Stefania Puntaroli brilliantly declines through the codes of Engraving , Painting, Photography and Performance .

P101 tempera all'uovo su carta106x78cm2013

 P101, tempera all’uovo e argento su carta, 106x78cm, 2013

The essence of this work finds a fertile ground in the art of Engraving, a well-established and enduring passion that the artist has been cultivating since the studies at the Academy of Fine Arts in Florence, in 1995, with a careful dedication, juxtaposed to the idea of Sign. This is often accompanied by the research for a multicultural symbolism beyond geographical boundaries where to find common roots and new interpretations on the basis of common traits of an ancient civilizations – this is the case of studies for cave paintings (Val Camonic, italy) in search of an artistic vernacular language.
From this premise, the style is recognizable in the texture of the image where the line, both  abstract and representational, is identified for its depth, relief, stroke and direction of different materials including paper and fabric, expertly conducted by the hand of the artist. It looks like a figurative research into the deeper archetypes of the collective consciousness, which results of a series of animal figures that the artist has been able to interpret from either a younger audience –  through the representation of imaginary animals – both to the modern viewer, as the emblematic example of Directions, 2013, where, according to an anatomical study, the work shows a great eye of  horse, which shines with all its higher meanings.

BP 1

BP1, argento su carta, 21x30cm, 2013

The figurative research that has accompanied the early beginning, is reflected in the most recent black and white works, forming the complex of performance where she affirms her practice by the role of being a woman artist: this is the emblematic sample of Heritage, 2013 where Stefania manifests the presence of the sculptural body in accordance with rules which pose, gesture and act are useful to articulate the duration: it is a withdraw by raising, where from the skin, which is the limit of the representative surface, the artist experiments on her own physicality a series of signs that translate the desire for a return to origins, natural elements,  lost nature, as well as an homage to Courbet, The Origin of the World, 1866 .
The artistic practice of Stefania Puntaroli is feverish, in a constant search for innovation and reflection of the expressive language, freely comparing her view with other artists. In 2014, the artist has been selected to enter the competition Sanremo Art Festival /Art4Food, a project in which art takes on a creative dimension of well-being and solidarity.

Stefania Puntaroli
1972, Prato; Works and Lives between Prato and London

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è interessata agli aspetti Visivi, Verbali e Testuali che intercorrono nelle Arti Moderne Contemporanee. Da studi storico-artistici presso l’Università Cà Foscari, Venezia, si è specializzata nella didattica e pratica curatoriale, presso lo IED, Roma, e Christie’s Londra. L’ambito della sua attività di ricerca si concentra sul tema della Luce dagli anni ’50 alle manifestazioni emergenti, considerando ontologicamente aspetti artistici, fenomenologici e d’innovazione visuale.

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