In her works, Isabella chooses to privilege painting as a material, to bring to the surface images that are the visual transposition of her memories, sensations and experiences and to reflect on how time modifies the perception.
In the “Necessary Paintings” series created between 2020 and 2021, the link with nature is fundamental, experienced and perceived in a new way through the limitations of the first lockdown in Italy. Nature is the space in which the artist rediscovers rhythms that are distant from frenzy and impending deadlines, rhythms made of slower and more measured gestures and reflections that lead to stylistic choices which are more oriented towards the essence.
This discovery also passes from nature to closed space. In fact, the relationship with the studio becomes important, experienced in a more intense way when all social relationships have been limited and where the paintings can experience a very first exposure on white walls, establishing a primordial and silent dialogue between them.
IN DETAIL
As we get closer to the work, we notice that for every inch of the surface of Isabella's works we should stop and try to think about how these colors, these shapes and the way they were made can be found exactly here.
The hatchings (the layers of color that form the background of the work) blend together, overlapping. On them we find material brushstrokes, compact and dense.
In the “Necessary Paintings” series created between 2020 and 2021, the link with nature is fundamental, experienced and perceived in a new way through the limitations of the first lockdown in Italy. Nature is the space in which the artist rediscovers rhythms that are distant from frenzy and impending deadlines, rhythms made of slower and more measured gestures and reflections that lead to stylistic choices which are more oriented towards the essence.
This discovery also passes from nature to closed space. In fact, the relationship with the studio becomes important, experienced in a more intense way when all social relationships have been limited and where the paintings can experience a very first exposure on white walls, establishing a primordial and silent dialogue between them.
IN DETAIL
As we get closer to the work, we notice that for every inch of the surface of Isabella's works we should stop and try to think about how these colors, these shapes and the way they were made can be found exactly here.
The hatchings (the layers of color that form the background of the work) blend together, overlapping. On them we find material brushstrokes, compact and dense.
