Franza Ilaria Franza
– Zanotta // Mikro Couture // Ile De France, presso lo showroom di Zanotta, Milano. Dal 24 febbraio 2016 – 3 Marzo 2016
– “Dove sono andati tutti i fiori?” Castagnole Monferrato, Chiesa dell’Annunziata. Dal 20 Marzo 2016 al 19 giugno 2016
– “Dove sono andati tutti i fiori?” Castelbellino, Ancona. Dal 25 Luglio 2015 al 09 Agosto 2015
– “Dove sono andati tutti i fiori?” Chiesa di San Silverio, Viarigi. Dal 24 Maggio 2015 al 28 Giugno 2015
– “NEL NOME DELLA BELLEZZA DI MAGGIO” Seconda Mostra Collettiva a cura dell’Associazione Culturale Premio Centro, Firenze 16 – 23 Maggio 2015, Foyer dell’Auditorium al Duomo
– “NEL NOME DELLA BELLEZZA” Mostra Collettiva a cura dell’Associazione Culturale Premio Centro, Firenze. Auditorium al Duomo e Caffè Astra al Duomo 11 – 18 Aprile 2015
– VIII Esposizione @ Spazio m’Arte, Milano, quartiere Brera, Settembre 2015
– “Arte cibo per la mente” Milano Maggio 2015
– 3° posto Premio Centro 2014 Castello Orsini, Soriano nel Cimino, Agosto 2014
– EYE ON WALL STREET, New York City. Ottobre 2009
– Anniversary Show The Classic: Modern & Contemporary. Chair and the Maiden Gallery, New York City. Dal 7 Luglio al 2 Agosto 2009
– 2° posto al concorso Milano in Digitale. Fondazione D’Ars Oscar Signorini Onlus, prima edizione Giugno 2006
– Citazione nella rivista “Flash Art” (Febbraio Marzo 2006)
– Citazione di un lavoro sul libro “La nuova scena urbana, Cittastrattismo e Urban Art” di Jacqueline Ceresoli, 2005
– Salon Primo, Museo della Permanente di Milano, edizione 2005
– Citazione di un lavoro sulla rivista “Stile Arte” Aprile 2005
– 2° posto Salon Primo presso Museo della Permanente, Milano 2004
– Mostra – Esposizione “Tondi a confronto” di Duilio Zanni, Broletto, Como Gennaio 2004
– Esposizione al Premio di studio di arti visive “A.Tenchio” 10° edizione 2003
– Esposizione presso Grafiche Mariano, 2003
– Esposizione al Premio di studio di arti visive “A.Tenchio” 9° edizione 2002
Ilaria Franza is inspired by the romanticism, getting lost in the storm of William Turner’s work, in Caspar David Friedrich views.
Observing nature and the landscape with the heart and the eyes of a romantic. She realises, too, in that deep turmoil, that mixture of physical and emotional, the unseen can emerge, brought out from things you can only feel.
These landscapes thus allow us to look beyond the horizon and over the landscape itself. They become places of the soul, dream-like views that are mixed together and melt into each other; soul and dream, like watercolour and water.
Therefore, the real landscapes become abstract, and by emerging from the water, in turn make the invisible visible. Water is at the heart of this work, it is pivotal. It is by no coincidence that the artist’s works are watercolours, and the language of water is its initial gesture. It is for this reason that this medium of Ilaria Franza’s works. A work of patience that emerges from the water, to blend with colour. The water and the colour is shifted, moved, channelled.
With technical gestures, focused and precise, Ilaria moves the canvas in a slow dance, thoughtful and meticulous. As the artist, she leads and moves. The water can, however, control, direct, manage, but will always be independent, with its own energy. Ilaria is not afraid of this water flowing: drifting, running with her. Moreover, this is why in addition to watercolours, her work sometimes goes as far as using acrylic or ink.
Observing the boundary between heaven and earth, connecting with its subconscious dimension, made up of forgotten thoughts, of silence. In addition, the colour drips, sometimes with aggressive gestures, sometimes with calm and thoughtful gestures. Then colour is shaken, moved, shifted. It makes her prone to using any instrument: rags, brushes, spatulas, droppers. It acts as an acrobat, in a constant struggle with the force of gravity, in a precarious balance between the power of the elements and the need to control them.
The work of Ilaria Franza is a becoming, like water passing and turning. Like water that has the power to quench our thirst or drown us, to destroy or quench the earth. Drying with the air, her paintings reveal new forms, previously hidden. She does not lose sight of them, but renews them, optimises them, corrects them, delimits the levees. In addition, by shuffling the colour and then moving it, it gets wet. She adds water on water.
Then we ask: can you really build on water? So look for stability, a base. The artist resists all this movement and for this reason in all her work, the colour black is predominanat. Black as the colour of the original chaos, from which all things are yet to be born, from which everything is built.
Of this black, we find, at times, a strong, strong presence. I often see at the bottom of the canvas, as if to hold the rest, to seek a beginning. In other cases, however, we find only a faint memory, an impression that water has washed away, but still, somehow, recalls. Even the colours undergo a change, wanting to point out that everything is in transformation: the water, the landscape, colour, us. The transformation continues even when we look at the finished works, because after each individual observation, they are presented to us with new elements.
Change is present throughout the artistic career of Ilaria Franza, from the early works on paper, up until “Un.limited”. Today it is as if she has found her ideal size, its path. She feels a being in constant evolution, that has changed, has learned and why it grows, taking care of her work, becoming her own physical part.
She tries to express the medium of nature with delicate prowess. No coincidence that the artist works best in the open air, on Lake Orta. The lake, the mountains, the mild climate are perfect inspiration for a painter like Ilaria Franza.
Rosalita Giorgetti-Marzorati, Zentrum Paul Klee Bern
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