Language and login selector start
Language and login selector end


Lara Usic, Frammento/Fragment 16, 2006

There comes a time in any artistic career when, after due consideration and profound reflection, the artist decides to consolidate with a key feature what he or she "really wants to do", so as to enhance the personality and to distinguish the meaningfulness of the paths taken. Lara Usic, a young artist from Pula, trained in Venice (having studied at the Academy of Venice) has just arrived at this stage of identification and consolidation. The path she has taken is clear and exemplary, for the expressive clarity, and motivational revelation and for the thematic contributions, always addressed in all her works.
Although our artist has "stated her case" both with intelligence and the wish to breathe fully the abstract and informal air of the 20th Century, she has also "looked in" on the linguistic expression of contemporary imagery with its relative formulations. Indeed, much European painting can be identified in her work, ranging from Riopelle to Baumeister, from Tobey to Appel, from Santomaso to Rotella, but be careful though: while the young artist has studied it carefully, has pursued it eagerly during her period of growth, she has not assumed any characteristic likenesses or suffered any subordination. Usiç has already her own identification mark and it would ungenerous and incorrect for us not to make such observations at the outset.
Her work consists of constant delving in the sense that she stirs up a stratified constituent within the painting, whereby more or less consciously, elements are brought
to the surface, but at the same time, there are the signs of her thematic, philosophical and inward research. For Usic, the creative process is indispensable nourishment that admits and disassembles all her expressive aspirations. It is the true substance of creation motivated by addressing everything that is relevant, impinging with a variety of meanings and laying bare in other internal fields. She creates her works with measured expository skill and is irresolute if unable to embrace fully the ultimate meaning of her reasoning. In front of the picture she becomes spellbound abnegating her own self to become earth and voice, colour and silence. She becomes
subject and object of her traumatisation, of her chromatic passions in which every creation is the source and mouth of a river that wreaks havoc but smoothes and enhances.
We have before us an artist who knows that she does not know, thus vested in humility, to explore all the "invisible continents" and to devise unprecedented and unexpected planning skill. Her work is completely commended to passionate formulation without formal "oppressions", to a "written text" of signs and colours more instinctive rather than guided by the mind, similar to when dreams create
alternatives in forms and situations. Lara Usic paints pictures making use of sign rhythms taken from everyday life, from contemporary language, with white in the forefront to humiliate colour, and thus making it a slave of its own omnipotence.
In this way, the artist is speaking to us of forms emerging from ancient layers in which light and colour arrive fatigued from unknown places, peripheral to the maelstroms of time.
She speaks also so that we can discover an unencumbered force between fantasy and paradigm, characterised by an enchanted affection for every outline, every emergence that uncovers, eliminates, includes and deletes.
The outline, the sign, the writ-summons-judgement has for our artist the value of an existential emblem from which nothing can be subtracted, seeking to bring to the fore the precarious nature of time. That which originates and finishes. That which transforms and declares void. That which imposes and wreaks havoc. That which deprives man of any freedom. She has a measured ability to observe and to memorise but her expressive strength derives much more from her capacity to subject herself to intuitive paths, to interpretations of compositional fortuitousness, to the adaptation of the material layers that spill over andbecome consolidated in a dimension that was previously unknown.

Text: Pino Bonanno

  • ArtFacts.Net - your experienced service provider

    Since its start in 2001, ArtFacts.Net™ developed a sophisticated artist database through its collaboration with international art fairs, galleries, museums and artists.