by Giuseppe Fusari
Altered time pervades the silences of the works by Cinzia Bevilacqua, a time that dilating, leaves the necessary space for its instants to fall upon the objects bathed in an intentional casualness, like impalpable flakes of dust falling on real life things, like fine coloured motes on the evidence of what is real and that by the artist – as though virtually a labyrinth – are disseminated from canvas to canvas, from drawing to drawing and from colour to colour. And yet this silent passing of time has nothing akin with melancholy, but is rather, substantiated by the vibrating of colours forming a palette that is unfailingly all the more rich, bright, colour contrasted and constantly on the watch for unusual chords, especially where the blues and the light blues that make up the shadows are concerned – on what is together a meditated yet immediate painting quest combined. And so the stenographic stroke of the line running restlessly over the shape of things, of the objects, as well as over the faces, hands and clothing in her portrait gallery, is summarily filled with rapidly spread colours, sometimes with ardour, and often – all the more often – executed looking to the final visual result that is naturally recomposed by the eye, more than the blending and formal finishing (academic), in a play of acceleration and slow downs that allow the subjects to assert their importance, based on the progressive refining of details. Rough hewn parts, as though statues left in their grey, rough-draft nudity, a prevailing need for the unfinished, are thus alternated – at first glance one would say, casually – to parts finished with the softest patience of accumulated veiling, of fine polishing, of a preciousness of substance, a form of intellectual focusing as it were, allowed to highlight only that which is relevant for the Artist in her poetic theme, in her quest for innermost purposes, that is up to her (and only to her, through that mysterious amalgamation of sensitivity and technical mastery) to discover and to reveal amidst the colour changing of instants that are too quick to be grasped, relished and remembered. On the still life works as well as for the more inspired portraits by Cinzia Bevilacqua, this time made of light dust, always crystalline, encompassing and utterly clear, goes on running, a time that is capable in any instant of investigating the folds of what is real and to bring out – as though it were too long and hidden a mystery compressed within the mental retina of our everyday association – the not meaningless significance of everyday things, of the small, commonly used objects, of non perfect faces, nameless faces, of beauty that finds no wrong in making use of the "minimum" to recount its presence …. of silent gaiety. Of a suspended, silent gaiety. Like that merry emotion that children are gripped by when making discoveries, that conquers them with surprise, giving them a glimpse (provided this may still be possible) of the flash and dazzle of eternity. (Giuseppe Fusari)