PIU’ FALSO DEL VERO review by Maria Rosaria Fantin

In the captivating setting of the Maschio Angioino, steeped in historical references, the exhibition “Più falso del vero” will take place from March 7 to April 9, 2012. Built around the concept of exploring the perception of reality and how Art alters that very perception, ultimately falsifying reality itself, this exhibition will give space and visibility to various artists, unfolding in two exhibition formats: solo shows and a group show; in the latter, we will have the opportunity to see the works of Sylvie Renault. Two canvases serve as bridgeheads into the artist's vision: Le porte del sogno and ζ Ret. With their powerful visual and, above all, emotional impact, these images—veritable apparitions, sustained by vibrant, rich colors—encourage introspection, a search for the self. Drawn into the filled spaces and the voids, our gaze glides, losing itself in countless transformations: folds of the soul, shifting changes of being. Unknown galaxies open up before us, Argonauts lost in the constant pursuit of our missions, sidereal spaces created around a single coherent form: the circle, the sphere, used by nature as an example of perfection and by the artist as the signature of a possible imperfection: a construction useful for exploring emotional infinity, rich in tessellations of plane and space, lost in interconnected geometries that evolve into different forms, yet can always be traced back to their source; like DNA, common to all forms of life yet generating an incalculable diversity. What we encounter is not so much a rational use of geometry with an Escher-like flavor as the evolving repetition of aniconic decoration, itself filled with the anguished questioning that leads human beings to probe the depths of their sensations. By filling the entire surface with graphic marks, the artist communicates the totality of the emotion felt and expressed, the driving force of an unstoppable mechanism, volcanic in its explosive energy and equally overwhelming; a horror vacui, an obsessive filling of space: an all-encompassing experience that leads us to the revelation of new expanses, both mental and physical. Nothing could prevent the transposition of these powerful marks onto a wall or onto an even more complex and articulated surface, a new Galla Placidia, a new Hagia Sophia transformed, brought into the present as a planetarium of emotions. Works like magnifying glasses, reflections of the soul, imperfect spaces that allow us to rediscover lost days or project ourselves into a future still entirely to be built. Maria Rosaria Fantin