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Painting is a practice made of freedom, magic and mystery. A place where the artist is allowed to express his or her honesty, heartened and reassured by the absence of rules that is found in the canvas’ perimeter. Nowadays, eclectic and beautiful young minds, like the one embodied by Ludovica Anversa, enable us to understand the importance of enigmatic appearances in pornographic contemporary times.

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Born and raised in Milano, Italian painter Ludovica Anversa has been researching many interesting aspects of the painterly process, giving importance to the freedom required to get in touch with the beauty that lies within uncertain and paradoxical images. In times when society is hungry for quick answers to superficial problems, Anversa choses to swim against the current, aiming to reach the other side of the expressive stream, a shore that is filled with enigmatic appearances and problematic solutions; a stage where we can glance at uncertainties and unexpected mergers of styles and influences. 

 

Ludovica Anversa, painting from “Conversation Piece #3”, 2019. Oil on linen.

 

As the artist herself explains, the act of painting often begins with the painter having an approximately clear idea of a certain desired outcome; an ex-ante moment in which the artist’s ego declares its will and feels at ease with a pre-determined scheme. But there is no progress without discomfort, there is no growth in one’s comfort zone; meaning that the painter, in order to achieve a truthful and courageous result, must overcome his certainties and dive into the land of the unknown. The artist must allow a variety of unexpected appearances to freely enter the canvas space, and let go to the flow of momentary intuitions. The final image of the painting can therefore be described as a combination of freedom in its creation and freedom in its subsequent observation; both the hand of the painter and the eye of the viewer must be given no limits of interpretation.  

 

Ludovica Anversa, Pitone, 2018. Oil on linen.

 

“The strength of painting dwells in having no claims; I think painting is a paradoxical enigma, because it does not want to reveal any absolute truth, it does not ask for any answers”. 

Another interesting aspect of Ludovica Anversa’s point of view, can be found in her relation with oxymorons: elements Anversa says “it is convenient to get along with”. As it has previously been stated, the act of painting is subject to continuous variations and directional changes, and the whole beauty of it lies in the painter’s acceptance of the coexistence of a variety of inconsistencies. It is crucial, for the artist, to allow the enaction of dialectical and oxymoric combinations, in order to achieve inedited truths and unexpected problematic solutions; like the exquisiteness that can spark from the coevality of acute and obtuse. A form of cheerful and unsolved dissatisfaction. 

In times like the ones we live in nowadays, where artists are required to enact forms of illegitimate and impossible problem solving, painters like Ludovica Anversa remind us about the beauty that can be found in the unsolved, about the power of the unexplained and the truthfulness that lives within the world of uncertainties. 

 
Ludovica Anversa, Fulva Testa, 2018. Oil on linen

 

 

 Ludovica Anversa, Amata Trappola, 2019. Oil on linen.

 

 

Cover image: Ludovica Anversa, Scarlatte Voglie, 2020. Oil on linen.

Wrtitten by Mario Rodolfo Silva

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