Needless to deny it, the first element of attraction towards the works of Alice Romano was certainly her aesthetic.
Over time and during our study visit, however, the issues related to the conceptual research carried out by the artist have undoubtedly proved to be more than equal to the artistic representation.
The Living Flame Series is a production of paintings, also made with copper.
The inspiration for the subjects of the works comes from alchemical rituals, medieval books, sacred iconographic references but also from video games, esoteric-virtual worlds and literary strands that populate the artist’s imagination since his adolescence.
These subjects also represent a kind of alter-ego, in which Romano can transform her avatar into a real effigy.
So, for Alice artistic creation can be compared to a ritual, where fire is the means to conjure up angels who will then remain imprinted on the metal plate, as they came straight out of the Sefer Raziel.*
In Armillaria Project, instead, copper is modeled on the mycelium patterns, symbolizing the connection, the ecosystem, the exchange of information but above the great ability of the artist is to study and approach spaces, considering the nature of the project to adapt to surfaces above all, thus also opening up to an expansion and a further connection from the material point of view.
The result is therefore site-specific installations, a modality that we always find particularly interesting, for its implicit essence of uniqueness and special transformation with space.
*text of white magic from the 13th century
IN DETAIL
Materials are a fundamental point for the artist’s experimental research that started from the focus on titanium to route her production.
Copper has responded better than anything else to her aesthetic-formal needs, even rising to the likeness of mycelium, "in opposition to its entropic nature," as the artist notes.
Technically Romano manages to master and convey the oxidation that is created with the flame and draw forms, whose purpose is not to be defined but evocative, also because the peculiarity that gives the work the fact that oxidation is not stabilized is precisely that from that moment the artist’s work ends and begins the process of uncontrolled modification, thus making the material autonomous and somehow "alive".
It is in this way that we get the wonderful iridescences that immediately strike the production of Alice, who actually finds the training as a painter by making the colors and shapes emerge from the metal materials themselves, instead of stratifying them, with the aid of flame.
Over time and during our study visit, however, the issues related to the conceptual research carried out by the artist have undoubtedly proved to be more than equal to the artistic representation.
The Living Flame Series is a production of paintings, also made with copper.
The inspiration for the subjects of the works comes from alchemical rituals, medieval books, sacred iconographic references but also from video games, esoteric-virtual worlds and literary strands that populate the artist’s imagination since his adolescence.
These subjects also represent a kind of alter-ego, in which Romano can transform her avatar into a real effigy.
So, for Alice artistic creation can be compared to a ritual, where fire is the means to conjure up angels who will then remain imprinted on the metal plate, as they came straight out of the Sefer Raziel.*
In Armillaria Project, instead, copper is modeled on the mycelium patterns, symbolizing the connection, the ecosystem, the exchange of information but above the great ability of the artist is to study and approach spaces, considering the nature of the project to adapt to surfaces above all, thus also opening up to an expansion and a further connection from the material point of view.
The result is therefore site-specific installations, a modality that we always find particularly interesting, for its implicit essence of uniqueness and special transformation with space.
*text of white magic from the 13th century
IN DETAIL
Materials are a fundamental point for the artist’s experimental research that started from the focus on titanium to route her production.
Copper has responded better than anything else to her aesthetic-formal needs, even rising to the likeness of mycelium, "in opposition to its entropic nature," as the artist notes.
Technically Romano manages to master and convey the oxidation that is created with the flame and draw forms, whose purpose is not to be defined but evocative, also because the peculiarity that gives the work the fact that oxidation is not stabilized is precisely that from that moment the artist’s work ends and begins the process of uncontrolled modification, thus making the material autonomous and somehow "alive".
It is in this way that we get the wonderful iridescences that immediately strike the production of Alice, who actually finds the training as a painter by making the colors and shapes emerge from the metal materials themselves, instead of stratifying them, with the aid of flame.
