(공식)첫번째 서재 이미지, 그린이 소개 (Nicoletta)

"I have been painting since I was 27 years old...It wasn’t at that age that I had my first contact with painting.
When I was a child I used to spend almost all my time drawing and painting, but as I grew into adolescence that dedication started to become feint amidst the noise of the world that surrounded me and in the hurry of hurry of my own youth. Painting was consigned to a corner of my indolence, as something that I would pick up again some day.
Several years later I had my child, and shortly thereafter I started to have timid meetings with painting, an effort at oils and a few watercolors.
But when I was 27, coinciding with my arrival in Valencia, all of this started to flow.
I am self-taught. I have progressed learning step by step, correcting my errors with a lot of intuition and a good dosage of effort...like everyone else, I suppose.

My first great influences were Toulouse Lautrec and Degas, and the material I like to express myself in is acrylics. I like its immediacy and its energy, and besides, there aren’t as many rules as there are for painting in oil, as least that’s how it seems to me... In my first period with pastels, the majority of my paintings were inspired by my own experiences and in the scenes that surrounded me: the night, the streets, bars, my house, people. In the beginning my painting was darkness, light and the newness of someone who has not submitted to rules, those were my first canvasses. Little by little I began observing more of the reality of things, and my painting became more and more realistic, based almost always in the old quarter of Valencia, in the decadence of the ancient, the obsession with light...

I learned a lot on that part of my journey. I learned technique and patience, but I also learned from disgust and the long year of creative emptiness that followed. I had nothing to say and everything seemed to begin again at zero.
Afterwards, there was a new way that I couldn’t well define, a road on which I knew only three things: flee from pure realism, concentrate on the human figure and paint from within...invent...and imagine.
Thus the Lovers were born. To paint that love, that island of comfort, to paint the energy that moves us in that state of intoxication, when we feel that we are superior...
But I didn’t want to paint the ‘reality’ of that. I wanted a language of the body that would carry all the emotion of that dance of love, of carnality, which is that of love from within, the drama of passion, that which irradiates and that which cannot be touched but only felt...
I drank from many painters. Klimt, Schiele, Picasso, Gauguin...and from many others...I have taken something of value from each one of them.
In many drawings, trying to make my couples accommodate each other, I look for harmony in deformation...Working in acrylics, watercolors, fascinating material because I almost don’t have to think, it is as if being within a medium in which all flows...
Finally, this has been the long road of the Lovers, my last voyage. Now another begins, of which “Waiting for April,” ‘Presence,” “Forgotten,” “Lady Drama,” “To be or Not to Be,” and “Death and the Maiden” form a part...now I want to probe other alleyways of the human soul...
I didn’t realize it before, but now I know, that for me painting is the best way to discover my own essence, to take the rocks out of my load; to live, to be alive and to be my own self, definitely. It is fascinating to know that I do not know anything, that every day I learn."


Translated by Michael O'Kane