Page 234 - TOP 10 CONTEMPORARY ARTISTS - Volume II

Barbara Pazzaglia

Lives and works in Rome, Italy
https://www.celesteprize.com/barbara.pazzaglia

I am an impressionist, vitalist, and intentional painter. I have unconscious contaminations (Hegel, Sartre) in which we are
the attitude of the Impressionists even though I maintain the mirrored. Intrinsically, negative entropy characterizes my work,

instinct of the Abstract Expressionist action painters. Each line orderly and neat.
is therefore an experience with its own unique history.
Nature is a primary inspiration for me. I have a transcendental
My attention turns to the pleasures that arise from impressions, idealistic love of it like Merleau Ponty does of knowledge. In which

sensations, perception, the body and the mind. The impression there is identification between me and nature that can be drawn
is what moves the senses and the body of those who have the through intuition and contemplation. My favorite nature is the
capacity for imagination. One can think of the reaction to an one found in Himalayas where there is no dust nor humidity. The
image as a leap, you cannot arrive from the material without this Himalayan plants were brought to France by the botanist Joseph

leap and vice versa. Arguably because the artist can get lost in Pitton de Tournefort, commissioned by Louis XIV to locate new
his work (Shelling), additionally, because an image determines plants, many of which are found in Giverny in Monet’s garden.
a kinesthetic intelligence. This perception is a thought, an Furthermore, the decor of Versailles created by Louis XIV is also
elaboration, it concerns the intellect. a source of inspiration since the similarity is no longer a source
of knowledge, but rather the occasion for error, the danger to

One looks at an image from several points of view, selectively which we expose ourselves when we do not examine the bad
analyzing it, finding the differences and then the appurtenances. place shadowed by confusion (Foucault).
My paintings facilitate the process of imagination through the

impression, and arouses the curiosity of perception. These are The similarities that I attribute to my paintings are only those
compositional visions in which the perspective is sometimes necessary to combine the image with language (Foucault). The
inverted as if space had lost its focal point, and all things were imperative of the art of knowing says: use words with absolutely
directed towards the viewer in an ascending and descending identical meaning; exclude meaning fluctuations (Husserl). Art is

overall vision. This can be seen in Tintoretto, the contrast ineffable, it cannot be the task of a philosophical interpretation of
between empty and full, connection between form, light, color works of art to produce their identity within their concept. There
and compositional structure (Sartre). It is an abstract painting is a distinction between Art and Philosophy, however philosophy
because it plays with the material elements of the canvas, with clarifies its meaning (Adorno). The idea of the beauty of nature

space, with its pure and simple properties, and with its own as art: this is not a simple analogy or human idea imposed on
material properties. The compositions are not fragmented or nature; instead, it is the intuition that the aesthetic form, the
emblem of freedom, is a way or moment of existence for both
TOP CONTEMPOR ARY ARTISTS test, there is no organic paroxysm. It is art that arises from the human and the natural universe. It is an objective quality
congested, but whole, compact, but not like those of Roshach’s
(Marcuse). The imitation of nature is the principle of art (Shelling).
a careful contemplation and perception of nature without

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