Paola Zannoni was born in Campiglia Marittima, a small medieval town. And since the age of twenty he has lived in this small but picturesque and evocative environment, studying and maturing that shape and those colors that will later appear in a surprising and very unusual pictorial expression that has garnered and receives many and many consents in Tuscany and elsewhere; consents accompanied and validated by numerous cups, medals and various awards.
Paola’s painting appears highly expressive in the subjective evaluation of colors and shapes. It is precisely the images that, spontaneously deformed, want to represent the multiple internal transformations of modern man, sometimes anguished and frustrated by existential problems, sometimes exalted and brightened by idyllic visions.
This painting, very interesting and personal, intrigues and fascinates, will amaze and upset the layman and the connoisseur … why?
Because generally it is not born from the reproduction of real and concrete subjects, but is born from visions and impressions that only you feel, perhaps even without the knowledge of your “self”.
What surprises in Zannoni’s paintings is not only the arrogance of the image, sometimes monstrous and demonic that is represented and which denotes a great strength of character, also the mastery with which he organizes the combination, the contrast of colors. Sometimes they are numerous and well blended, sometimes the color is only one but such are the shades that are created that it is a pleasure to look at the transmitted image, to receive the message of joy or sadness, of discouragement or of satisfaction that the color gives us send as a known music. As if the transposition on the canvas of the depth and frankness of the human contents that only this painter can represent in such an original way were not enough, she also creates beautiful floral motifs on canvas and linen for the making of scarves and foulards, of lampshades and curtains, tablecloths and clothes.
Perhaps starting from the vision of a composite and luxuriant nature, from the essence of spontaneous luxuriance, uncontaminated by the hand of man, from which the constructions of thought have moved, in a positive and negative sense; the painter projects her messages of spiritual and social controversy on canvases, seeking harmony – partly achieved – between poetic needs and manifest compromises for survival, which appear particularly obscure because darkened by the ever-persisting specter of war, which today has assumed the prophetic appearance of the “Solvet saeclum in favilla”.
In Paola Zannoni’s paintings the questions of the subconscious take shape, which pour into the conscious for explanatory necessity, and her creations are like a reason for moral justification, for the acceptance of time, immersed in the struggled dimension of the struggle for survival .
In describing reality – while remaining above it – the Artist seems to want to tell us: “I dreamed of a better world and, not finding it, I return to the motives that aroused the primary dream, not out of fear but to be able to contemplate – as far as possible – fundamental truths, pillars of support of the spirit ”.
This is the spiritual “path” of most artists, adult children in the best sense of the word, dreamers completely aware of the origin of the dream.
Accurate painting and, I dare say, with “romantic” accents in the sentimental value of the word, in the supposition of a “secular mysticism” which almost always proceeds parallel to the poetics of love granted to us.
Well-dominated figurations, even in the declamatory of fantasy, control of the brush stroke that comes from other disciplines observed, from the technical studies, which serve very well – in any case – as reins to direct the fiery steed of pure feeling.
– dott. Alberto Benedetti
On the painting, the spatula and the brush, moved by the magnificent movement released by the artist’s subconscious, create shapes and colors that are pleasant to look at. The attentive observer tries to glimpse a response to the intricate tangle of harmoniously intersected lines and colors.
– Giorgio Tuti
Galleria d’Arte “Il Machiavello”, Firenze
The world of artistic projection of our painter often appears to us as immersed in an underwater, silent atmosphere, where sounds do not reach, since it is the stroke of the brush that narrates – in an apparently informal, abstract synthesis – the story of a experience, of thoughts that seek a harmonious solution to the alternation of images, of happy and suffered teachings.
This atmosphere of sweet detachment from the disturbances and the mutability of feelings, however, is transcribed – in an immediate rethinking – on the habits of a hypothetical mountain, where every experience is set aside in the recording of the essential traits, beyond that passion of human things that not infrequently it drags into the vortices of the irrational.
Evasion, therefore, in the accurate and rich painting of musical counterpoints of the Artist, and a tendency towards descriptive detachment: passion, however, reappears here and there in Paola Zannoni’s floral compositions, and we return, on occasion, to the words of a French writer, who remained particularly famous for his “Maximes”:
“Les passions sont les seuls orateurs qui persuadent toujours. Elles sont comme un art de la nature dont les règles sont infallibles; and l’homme le plus simple qui a de la passion persuade mieux que le plus éloquent qui n’en a point. “
Fire under the ashes, in essence, in the balanced and thoughtful surrealism of the Painter, touch completely in key for the ideal aims: unnecessary and meaningless embellishments are not noticed, and the continuity of inspiration is appreciated, without false ideologies that – often – they doubt the artist’s vocation.
The decorative tone of the paintings is also highly appreciated: beyond any ambitious controversy, there is the spontaneity of projection, with the means chosen after a not indifferent representative journey.
– Mario Baldassarri, Il Telegrafo, Livorno
Paola Zannoni engages her painting in pure abstraction at times, in others she pours the play of shapes into a screaming passion of the absent subject, stirring with dark and ambiguous fetishes. (Carlo Franza); … In Paola Zannoni’s paintings the questions of the subconscious take shape, which pour into the conscious for explanatory necessity and her creations are like a reason for moral justification for the acceptance of time, immersed in the struggled dimension of the struggle for survival. (Giorgio Tuti); … The world of artistic projection of our Painter often appears to us as immersed in an underwater, silent atmosphere, where sounds do not reach, since it is the brush stroke that narrates – in an apparently informal, abstract synthesis – the story of a experience, of thoughts that seek a harmonious solution of the alternation of images, of happy and suffered teachings. (Pierre La Roche).
– Pierre La Roche
Dal catalogo ARTE RIMECO, Svizzera