Conny Caserio

So , some artist soon starts , almost in haste , while some others sediments the experienced oh visive suggestions for year ,tracing, here And there , vague forms with colour , without doing definitive life's intentions.

When pictorial sign presents itself to the artist, with a strong need of its own life which needs of manifold proofs And checks there's no age which represents it , because it's born in that instant, if, from that instant in then, it will go on living with formal And chromatic attempts more And more thought .

Conny Caserio seems to arrive to work's show with some delay as regards to which normally seems to observe in painting. She even do it with surprise .

But all the same nothing is taken off to quality of works And to quality of painting , or better still , adds a further 'thought' , an articulate offer of many pains, reserves,modesties, and doubts .

Her scenaries and her 'nature morte', present in a limited number to not help an heavy quality which presents the quiet consideration of work , just arrives but they are the fruit of various proofs And an happy cohabitation with painting And with the painter Ciro Barbaro .

Certainly the Conny Caserio's artistic itinerary it's different from the one of her housebound , but living with a person who is able to manipulates the color and the shape represents a great possibility and so, a great fortune .

"There are -says Stendhal - as many beauties as the way to creates happiness ".

Some artists sees that happiness as perfection of naturalistic sign ;some others follows the tracks of a more contemporary art, rich of intimacy color, aspiration towards infinity through essential signs.

That's what's happened to our painter, which works, devoid of canonical prospective elements and enriched with colourstain sprung by instinct of 'hearing' holds to exploit not the naturalistic composition or the object , but the strong subjective impression that the sensation of things determinates in the person whom is looking .

These prospective alteration , just because nutty and made almost childish , these colours so sensually directed towards the feeling's scenery ,are more near to the truth because they belongs to that part of iconografic knowledge which doesn't want to lie in too much fiction of perfect.

Certainly with the scenarios we can indistinctly see the lesson of post -impressionism, where the artist wants chromatically live the sense of volume towards an essential construction of elementary shapes.

The conflict between sensorial emotion and reality is most plain in the 'nature morte': is gathered in it the painter's necessity of alterating the pre-established rules as an attempt to get hold of interior logic of images that the things suggests to find again the new virginity made up of elementary construction .

Giving up only imitative intentions , wishing to represent the color And simplifying the drowning, Conni Caserio founds her pictorial works on the autonomous expressive value of color, of shape, of lines and pagination images .

Such Expressionism , in painter , is an attempt to reveal the absence of herself, of man and things, which are hidden under an external skin.

So it can be seen how the things that remains of her works represents an emotional vision which is able to penetrates suddenly to the end of compositive reality to make out its hidden character and make it 'visible' so as in 'nature morte ' the images is born from the contrast between an area of horizon and the line which defines the outline, in the scenarios the color is given out on surfaces of some spaciousness and the paginating becomes meaningful because it replaces the tridimensiomal space with the game of surfaces.

The mysterious presence of monochromatic little arch, which winds many composition seems only the border of 'saying' beyond which remain the silence and the frame.

In these works Conni Caserio reveal her pictorial spirit, her clean daring, which moves itself through the indefinite, through the worrying uncertainty of a sign which is searching for itself, aware the painter, that there's a long way to cover to find, in ht end, 'the solitary and desperate nomad ' of beauty.

Giuliano Soliani