"In order to respond to such criticism I see on the usual site of Giorgia should be noted that the author Symbolism is between Eastern Europe, non-iconic nature, and the iconic Western, whose synthesis is fatal because it goes to affect transfiguring the key images that become abstract, just as in the latest artistic trends of the twentieth century Europe. His works give off an area so central Europe which makes them attractive to an educated public, sensitive and expert bodies of the "modernist." The strong aptitude for abstract forms-geomeriche (undoubtedly derived from his training) mirrors undoubtedly a taste stilizzante, creating Abstractism contemporary and great execution of action painting that clearly influence, especially in the large canvases. In the case of Giorgia is also true that the wealth of material, produced by integrating the art with materials of various nature and origin, color and fullness of pulp, continuously reinvented, reveal a mastery of media, which render the plasticity and volume, the prerogatives of our classic (not to ignore that person to be attentive to art history, has rightly suffered the influences of the great masters of the past) is not need to rack one's brains as much in an attempt to force any kind of rational reading. It is clear that the themes are drawn to a source with infinite continuous flowing stream without stopping ever ... Fantasy, particularly unrestrained in his work. Driven by an ineffable mystery that is creativity. It is to pour out on canvas and other media wave of bright colors that are distributed in an apparently Random Geometric divergent scores second, all still in character ... fitoformico scrolls, spirals, irregular, undulating lanes, unsuspected corners ... vibrant colors, sensual, almost always chosen from among the hot and not radians. Pictorial and plastic scans bold steps, that of Claire, but still graduated from full color and luminescent, especially in recent times, where the overlap is more clean and sharp geometric interpretations speak of landscape, of personal feelings, such a way that goes beyond producers and management of signs. The title of each work, almost always based on the concept of "unusual," makes obvious reference revisited with a modern expression, but what matters most is the His courage to venture into that fantastic universe, and everything that can reasonably be inferred from a reading of his "paintings", sometimes sculptural, introduces a Cosmo Mystery, that only the "third eye", that of the Spirit, can illuminate and to understand what is personal and can not be traced Giorgia tou curt predecessors which, for convenience of critical facility, has always been compared.
Prof. Giorgio Barberis
www.giorgiobarberiscriticodarte.blogspot.com
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