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In contemporary times, an artist is often subject to what is defined as contamination. A variety of stimuli and influences that not always belong to the artist’s research scope. It is in pure personalities, like the one embodied by Lorenza Boisi, that we can find a mature and complete balance between all of the proximal contaminations of genders and media; a form of acceptance that allows the artist’s expressive power to spark from distant and different forms of expression. 

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Italian artist Lorenza Boisi is another one of those beautiful minds who entered the world of painting at a mature age, after a long and complex process, that allowed all of her influences to find an expressive channel in the act of painting. Boisi’s works dance along the border between what is said to be figurative and what is thought to be abstract, creating a subtle and elusive form of self-portrayal, that allows the artist to always find a resemblance of self into all of the beautiful images she brings to life. Artistic freedom is used by Lorenza Boisi to dive more and more deeply into the depths of her soul, to then resurface with a more complete knowledge of her own persona. 

 

Lorenza Boisi, Boyz 1, (2016). Oil on canvas.

 

My form of painting is an object and a subject of itself. Each of my paintings, although tangent to the limit of abstraction, is a figurative work, a self-portrait. I do nothing but remember who I am, work after work, intertwining myself in every figure and counter-figure, in every iconographic reference, in every redundancy of the motif, in every informal abandonment”.

In Lorenza Boisi’s paintings we may find a variety of straight-forward influences, that appear to be contaminations from other expressive categories; in particular from the vast and immense landscape that is brought to her by the history of literature. Boisi has always been in close contact with a series of literary references, and her everyday life is filled with a passion for the act of communicating through the beauty of words and the complexity of the definition of language. As she explains herself, words often act like a figurative code and frequently embody a resemblance of iconography, a character, a preconception or a clichè. The main source for the artist’s pristine research, is given by those books that have survived there time-frame and have become eternal; by those writers who’s tales have travelled through ages, surviving the times and being acknowledged as pure forms of human expression, transcending their setting and the historical context they were born in. 

 

Lorenza Boisi, Self Portrait Posing as A Sculpture, (2014). Oil on canvas.

 

Literature and the beauty that lies within written words, are not the only contamination that Lorenza Boisi’s works embrace. If we study her practice more deeply, we will find that the artist has also given great importance to her research regarding ceramics and the liveliness that can be found in their usage. As Boisi states “I am and I remain a painter”, but as many others before her, she often gives-in to the temptation towards three-dimensionality, enchanted by the power of concave and convex forms, by the weight of a bodyful practice, such as the one of forging ceramics. An adventure within body and material, that has influenced greatly her painterly practice and has created a meaningful form of dialogue between two apparently different mediums. 

Lorenza Boisi stands nowadays as an example of purity within the artistic practice, erecting no boundaries nor limits to the variety of influences that an artist is subject to in melting-potted times. Elevating painting, once again, to a form of pure contamination between genders and mediums. 
 

 

Lorenza Boisi, New Studio, (2016). Oil on canvas.

 

Lorenza Boisi, In the Studio, (2016). Oil on canvas.

 

Cover image: Lorenza Boisi, Urban Ritual, (2016). Ceramics and shoe laces

Written by Mario Rodolfo Silva

Stay Tuned on Kooness magazine for more exciting news from the art world.

 

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