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Clelia |
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Clelia
Vettrici was born in Lomas de Zamora, Argentina. |
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"If it is true that an artist offers himself in his works, Clelia Vettrici hits perfectly the mark. An eccentric, outgoing,. cheerfull character, she succeeds in potraying, with the chromatic violence of her paintings, her almost carnal and obsessive wish to live. to live inside her flowers often similar to heads of Medusa, winding, provocative, coiled around themselves as if they were animated coils. She succeeds in being disquieting even in her marine sunsets which are expressed in a non-defined style between impressionism and expressionism, saturated with purple iridecences opposed, in a provocative way, to red and yellow explosions of materials and painted in their primary tonality with a spatula. Clelia does not accept any impositions dictated by rules or standard pictorial manners.She departs from the norm and frees herself almost with violence, throwing herself on the canvas with a defiant attitude towards her surroundig world in which she feels suppressed and limited by de innumerable rules in force in human society. In order to understand her interior ego it is necessary to read the works of Clelia by entering into them or on the contrary to know Clelia in order to enter her works.". |
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Mario Bellero, Maestro di pittura |
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"The paintings by Clelia Vettrici strike the chords of naïve paintings, of expressionism and of abstractionism with poetry, happiness and with a fairy-tale feeling. There is a lot of joy of living and all what Vettrici portrays in her painting constantly brings the tone and the wonder of a dream". 5/6/2003 |
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Dott. Pietro Paci |
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"The prevalence of chromatic research and seeming disregard for outlining, even roughly, a well-defined subject show Clelia's wish to comunicate her own intimate hard-won optimism". |
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Dott. Gerolomo di Tommaso |
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In every particular moment of life, for the very sensitive spirits, turning to artistic expression assumes a moral and therapeutic value. It almost becomes the last resort where interrogative waves and needs that lead to something which has the weight and force of life break. These observations are necessary in view of the works of Clelia Vettrici, whoseems to pose herself questions and, consulting the oracle of art, looks for answers to then return us with never gratuitous images, with a work which comes from an intimateexpressive need; from the obstinate but also fragile will to analyse herself and tell herself and us all her controversial and anxious love of the reality which sorrounds us. Her works are built with a figurative web, tangled and intrigued, sometimes with lines which delimit and give certitude to the painted backgrounds, other times they are marked by colour desintegration into a fine dust of a micro brushstrokes where boundaries become more inner. At times her work flows into a romantic and visionary image or recalls an expressionist strength with invasions into the Dada as far as the modern Transavanguard. Expanding and reducing morphemes appear and disappear, where echoes of Miró, Klee and Munch are felt, I do not know how much they are consciously "repeated", creating a charming and engmatic surface. Forms, signs and colours which recall to the ancestral, to the atavistic and to the archeptal. The weaving, mixing and overlapping of the matter reveals a deep dialogue/conflict interior, a "Scream", a titanic suffering which is a characteristic only to the true artist, who wants to "impress" on canvas her interior sketch until it becomes an image/the other part of her and leave it to an independent life with a final relieving gesture. It is a captivating to discover in her works the pure decorative effect or the zooming in the material searching for the essence of reality, which che succeeds in catching and reinventing: then the colour predominates as pure, refined or violent, representing uneasiness and happiness on the canvas. Sondrio, June 2003 |
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Luca Fasano |
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Her nature: this is what Clelia usually paints, her emotions, her chromatic joy which is inside her, "the movimiento" as she says: "I have to feel things, what is surrounding me". She doesn't represent them in a realistic way, but she passes them with the graphic simplicity of a child who discovers what is inside them. She doesn't lave smooth surfaces, she wants to touch, to feel the roughness and that's why she creates her canvas, she scratches them and makes embossed works with different signs, rich in explosions of colours, with fluctuating waves dragged by a Latin-American music. She enjoys painting and loves her inner world made of simple and pleasant emotions. The gesture is the mai n element of her chromatic compositions which bubble with euphoria and strike the observer with saturated Iying of green, cobalt and ochre colour on which slow drops tali and nervous sprays of red, orange and violet colours link together in an apparent and tone clash. The colour is her intimate fellow traveller. Clelia has been painting since 1995, far desire, far need, far lave, far being alive, in a society often careless, bury and not always careful to people who are alongside, those who have inside a whole world to know, an emotional volGano worthy of being explored and shared. From the abstract compositions she goes through expressive and totemic faces with a great primitive strength emerging tram her deepetimaginary with decorations made of beads and coloured glasses that evoke princes or Indo-American warriors. Always in search of the new, her intimate need is looking far he balance, constituent and chromatic, that achieves with the use of contrasting colours that crash and harmonize and finally appease on the surfaces of the square forms and in the multiple compositions painted on the canvas using oils and acrylics. In the china decoration she prefers geometric symmetrical patterns which evoke her radiance. |
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Prof Michele Falciani |
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Clelia laughs,and her laugh spreads over the canvas,it crumples the surface of the glass, congeals the putty on the panel. Clelia laughs,she laughs because she is not consumed by the constraints of definition.What is my style? What should I call this impulse I have to bring out the colours inside me? Material,informal painting, art brut, pop, are all categories which do not belong to her way of approaching art,even if they affect her, and with just how much consciousness on her part its hard to say. What is certain is that Clelia Vettricis career, little by little, over time a more authentic and personal matrix has taken shape.Since the beginnings when there was some talk of action painting(wisely abandoned)Clelia has,in fact, developed more attention to formal composition and to the use of colour,with results that are of definite interest. There is a whole world of joyful amazement in her work that Vettrici,self-taught but with a close eye for stimuli and suggestions,timidily and with a certain anxiety,shows to the public.Almost unexpected surprise,given the many possibilities of the pictorial medium,dense,engraved,etched,modelled,covered over with new colour and constantly subjected to experimentation. Vettrici doesnt follow a style but she let herself be fascinated.The Orient meant more as a category of the spirit than as an histo |
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Marina Cotelli |
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