The boundary between the fairytale and fable, between the dreamlike and ghostly – Luana Celli

The boundary between reality and the dream is represented by favolismo Luana Celli, a researcher in atmospheres unknown, magical and improbable, as if they were taken directly from the world of ideas and would return to the surface to make us dream with open eyes.

Its implementation methods are high and show a depth of soul like no other.

The chromatic harmony affiliated technical ability in getting the form, gives the artist a skill and a unique expertise.

In other words, the objective fact transposes into something else, in another place at the boundary between the fairytale and fable, between the dreamlike and ghostly.

Elements that must surely stimulate it to go on, so give us dreams.


Suspended within a dream

Art is like a sky where each star has its place.

The stars are many, but when we look at some appear more vivid, more like our mood, our expectations.

Luana Celli creates shapes and creatures, through a dialogue that never stops, between the hand that performs the stretch and his inner strength is enhanced by the fusion of many feelings and emotions to be redesigned, but only apparently conflicting authentic.

The painting of Luana Celli, can not be cataloged, placed in a school of thought and even his style can be compared to that of other artists.

His way of painting is original and does not follow mathematical rules but derives from his interior and the ability to trace, with emotional simplicity, every trait that, if by magic comes alive, takes shape and speak to the viewer to see.

Luana Celli love beauty and impresses on his canvases with the genuine force of the Arts who lives actively, with the mind and the heart.


Here, where the sea sparkles

Luana Celli lived and worked for years near Rome. He attended the Academy of Fine Arts in Rome and was a student of Maestro Giulio Turcato. He has participated in important exhibitions Italian gaining more success with critics and audiences. Winner of numerous awards, exhibited in the famous historical exhibition “ONE HUNDRED ARTISTS VIA MARGUTTA.”

Between reality and illusion

Insulated way of painting, archipelagos of senses and desires – the art of Elena Rudatis

The  work of Elena Rudatis is conspirative. Its packed solid and wondrous.

Carefully layed down on the back side of bed-time stories, her painting oscillates between a bursting/burning essence and a sincere multiform fragrant surface.


Its a an insulated way of painting, from which emerge with power archipelagos of senses and desires. An irregular geography of bodies with strong outlines: black marks that melt the figures into each other, while in some way, erode them by crunching off nibbles of their flesh.
Here we go then; hands and glances spread out on the canvases, fluvial limbs that the spectator can be quenched with, or can moor in, or even drawn in it.
Above all, the pleasure of the vision is coagulated in the rhythm that wraps up the dances of bodies, in the score made of dense, obstinate colours, at times also suffered, opened to the laceration and to the contrast.
Sometimes the images set off, sailing among squinted daydreams, always on the verge of insistently asking to heal the faraway oceans.
Other times the brushes roll down the canvas, mixing ucise dispersed.

Sirena in disco

In its viscous and magma wise flowing, the expressiveness of the Turinese painter sets up brooks of writing, pruning and inserting syllables and lacerts of poetry in the wefts of the drawing as a literary blossoming that decorate with arabesques the bear contact among the figures.

Escape from the Dawn

The title it is therefore, finally, within the picture: a silver moon shiver that waves on the surface. It is at last necessary to come down to the bottom of the pupil where the colour get drunk of oxygen and the pose cannot be other then clumsy, oblique, lateral.
Its a translucent operation mixing up the sensitive totality of the bodies with the immediacy of the narration.
It is at the end necessary to dive down to the bottom of the taste-pore, courting the milky flavour of slightly curled profiles of bodies, the dense energy of lips, glances stretched out into unknown threads.

Winter atmosphere, and colors become feelings – Valerio Betta

I suoi lavori, eseguiti su sfondo sabbiato, sono atmosfere invernali ove i colori diventano sensazioni che non sono mai fredde, ma cariche di sentimento e molto umane. Gli acquerelli sono molto gioiosi con scene della valle e del Garda, quasi miniature ottocentesche, sogni che camminano sul colore, oppure grandi vasi di fiori che si perdono nello sfondo e sembra quasi che non ci sia distacco tra il fiore e lo sfondo ma anche lo sfondo sia una continuità dell’atmosfera del fiore e delle foglie.

E’ in attività dal 1970, con presenze in numerose rassegne nazionali e internazionali. La sua prima mostra importante è quella presso la Galleria La Cornice di Desenzano nel 1977 e poi alla Galleria La Proiezione di Verona nel 1980. Nel 1976 ottiene a Milano il “ Premio grafica Italiana Contemporanea” e nel 1978 il “ Premio Moretto “ a Brescia. Negli anni 1979 e 1980 ha tenuto una mostra permanente presso la pinacoteca di Salsomaggiore Terme e attualmente presso Scultura e Design a Milano. Alterna mostre personali a manifestazioni internazionali: nel 1985 è invitato alla Biennale d ‘Arte “Seetal” a Zurigo, nel 1988 alla Biennale di La Spezia e nel 1993 all’ Italian Pavillion diTokyo.

Serata tra amiche a Parigi

Journey to the East, oil and gold on canvas

His work, carried out on frosted background, are winter atmosphere where the colors become feelings that are never cold, but full of feeling and very human. The watercolors are very joyful scenes of the valley and Lake Garda, almost nineteenth-century miniatures, dreams walking on color, or large flower pots that are lost in the background and it seems that there is no gap between the flower and the background but also the background is a continuity of the atmosphere of the flower and leaves.

It ‘been in business since 1970, with appearances in numerous national and international exhibitions. His first important exhibition was held at the Gallery The Frame of Desenzano in 1977 and then at the Galleria La Screening of Verona in 1980. In 1976, Milan gets to the “Prize graphics Contemporary Italian” and in 1978 “Award Moretto” in Brescia. In 1979 and 1980 he held a permanent exhibition at the art gallery in Salsomaggiore and currently in Sculpture and Design in Milan. Toggle solo exhibitions at international events: in 1985 he was invited to the Biennale d ‘Arte “Seetal” in Zurich, in 1988 at the Biennale in La Spezia in 1993 to’ Italian Pavillion diTokyo.

Son travail, réalisé sur fond givré, sont ambiance hivernale où les couleurs deviennent des sentiments qui ne sont jamais froid, mais plein de sentiment et très humain. Les aquarelles sont des scènes très joyeux de la vallée et le lac de Garde, miniatures presque dix-neuvième siècle, les rêves de marche sur la couleur, ou pots de fleurs grandes qui sont perdus dans le fond et il semble qu’il n’y ait pas d’écart entre la fleur et le fond mais aussi la arrière-plan est une continuité de l’atmosphère de la fleur et de feuilles.

Il est en affaires depuis 1970, avec des apparitions dans de nombreuses expositions nationales et internationales. Sa première exposition importante a eu lieu à la Galerie Le Cadre de Desenzano, en 1977, puis à la galerie La Dépistage de Vérone en 1980. En 1976, Milan devient le «Prix graphiques italien contemporain” et en 1978 “Moretto Award” à Brescia. En 1979 et 1980, il a organisé une exposition permanente à la galerie d’art à Salsomaggiore et actuellement en sculpture et de Design de Milan. Expositions bascule lors d’événements internationaux: en 1985, il a été invité à la Biennale d ‘Arte “Seetal” à Zurich, en 1988, à la Biennale de La Spezia en 1993 pour’ italien diTokyo Pavillon.

Jahrestag, Öl auf Leinwand und Stoff

Sein Werk, auf frosted Hintergrund durchgeführt, sind winterliche Atmosphäre, wo die Farben Gefühle, die nie kalt, aber voller Gefühl und sehr menschlich geworden. Die Aquarelle sind sehr froh Szenen des Tales und dem Gardasee, fast neunzehnten Jahrhundert Miniaturen, Träume zu Fuß auf Farbe oder große Blumentöpfe, die im Hintergrund verloren gehen und es scheint, dass es keine Kluft zwischen der Blüte und im Hintergrund, sondern auch die Hintergrund ist eine Kontinuität der Atmosphäre der Blume und Blätter.

Es in der Wirtschaft seit 1970, mit Auftritten in zahlreichen nationalen und internationalen Ausstellungen. Seine erste wichtige Ausstellung in der Galerie der Rahmen des Desenzano in 1977 und dann in der Galleria La Screening von Verona im Jahr 1980 statt. Im Jahr 1976 erhält Mailand den “Preis Grafiken Contemporary Italian” und in 1978 “Award Moretto” in Brescia. In 1979 und 1980 war er in einer ständigen Ausstellung in der Kunstgalerie in Salsomaggiore und derzeit in Skulptur und Design in Mailand. Toggle Einzelausstellungen in internationalen Veranstaltungen im 1985 wurde er in der Biennale d eingeladen ‘Arte “Seetal” in Zürich, 1988 an der Biennale in La Spezia im Jahr 1993 auf’ Italian Pavillion diTokyo.

Его работы, выполненные на матовой фоне, являются зимние атмосферу, в которой цвета становятся чувства, которые никогда не бывают холодными, но полные чувств и очень человеческое. Акварелями очень радостное сцены долины и озера Гарда, почти девятнадцатого века миниатюры, мечты ходить по цвету, или большие горшки для цветов, которые теряются в фоновом режиме, и кажется, что нет никакого зазора между цветком и фоном, но и фон непрерывности атмосфера цветов и листьев.

Это был в бизнесе с 1970 года, с выступлений в многочисленных национальных и международных выставках. Его первая важная выставка прошла в галерее кадров Дезенцано в 1977 году, а затем в Скрининг La Galleria в Вероне в 1980 году. В 1976 году Милан получает «Приз графики Современные итальянские” и в 1978 году “Премия Moretto” в Брешии. В 1979 и 1980 годах он занимал постоянная выставка в художественной галерее в Сальсомаджоре и в настоящее время скульптуры и дизайна в Милане. Переключить персональные выставки в международных мероприятиях: в 1985 году он был приглашен на биеннале D ‘Arte “Seetal” в Цюрихе, в 1988 году на Биеннале в Ла Специя в 1993 году “Итальянский павильон diTokyo.

Рынка под снегом в январе, масло на панели

Landscapes of the soul, the mirror of soul and Francesca Coletti

The painter Francesca Coletti has hired a research arcane chasing apparitions and traces of image, in plots of signs, almost ectoplasm graphics, emerging within a context aware materially. His research seems to evoke space of interiority memorial and this is still more explicit direction of his journey imaginative. Yet the signs that line and make his paintings do not just talk about themselves, but constantly allude to the principal contradiction of modern Western art: Enclose necessarily in a form the formless world that surrounds it. And so that the signs are arranged on the canvas taking the dual nature of an additional thickness and meaning, his paintings, in fact, entirely covered by thick concrete of the chromatic material, constantly urging the language of painting, seeking the rationale starting from its material consistency: namely the color and the bodily action of the paint. (

Guerra – War

La pittrice Francesca Coletti ha ingaggiato una ricerca arcana inseguendo apparizioni e tracce di presenza d’immagine, in trame segniche, quasi ectoplasmi grafici, emergenti entro un contesto matericamente sensibilizzato. La sua ricerca sembra evocare spazi d’interiorità memoriale ed è tuttora questa la direzione più esplicita del suo viaggio immaginativo. Eppure i segni che solcano e compongono le sue tele non si limitano a parlare di loro stessi, ma alludono continuamente alla contraddizione principale della moderna arte occidentale: racchiudere necessariamente in una forma il mondo informe che la circonda. E così che i segni che si dispongono sulla tela assumono la doppia natura di una aggiunta di spessore e di significato, i suoi dipinti, infatti, interamente ricoperti dallo spessore concreto della materia cromatica, sollecitano di continuo il linguaggio della pittura, ricercandone i fondamenti logici a partire dalla sua consistenza materiale: vale a dire il colore e l’azione corporale del dipingere.  (

Portale Chiesa di San Cristoforo

Der Maler Francesca Coletti hat ein Forschungsprojekt arcane chasing Erscheinungen und Spuren von Bild angeheuert, in Parzellen von Zeichen, fast ectoplasm Grafiken, Schwellenländer in einem Kontext bewusst materiell. Seine Forschung scheint den Raum der Innerlichkeit Gedenkstätte erinnern und dies ist noch deutlicher Richtung seiner Reise einfallsreich. Doch die Anzeichen dafür, dass Linie und machen seine Bilder nicht nur über sich selbst reden, sondern ständig verweisen auf die wichtigsten Widerspruch der modernen westlichen Kunst: Schließen Sie unbedingt in einer Form die formlose Welt, die es umgibt. Und so, dass die Zeichen auf der Leinwand unter die duale Natur eines zusätzlichen Stärke und Bedeutung angeordnet sind, seine Gemälde, in der Tat völlig durch dicke Beton der chromatischen Material bedeckt, ständig drängt die Sprache der Malerei, Ich suche die Gründe ausgehend von seiner materiellen Konsistenz: nämlich die Farbe und die körperliche Wirkung der Farbe. Speicher und die Natur der Angst und Hoffnung: Die Malerei von Francesca Coletti, schließlich ist dies machte. (

Amore – Love

Le peintre Francesca Coletti a engagé une recherche apparitions chassant des arcanes et des traces de l’image, dans les parcelles de signes graphiques, presque ectoplasme, émergeant dans un contexte conscience matériellement. Sa recherche semble évoquer l’espace de mémoire intériorité et c’est encore plus explicite direction de son voyage imaginaire. Pourtant, les signes de cette ligne et de faire ses peintures ne sont pas seulement parler d’eux, mais constamment allusion à la contradiction principale de l’art moderne occidental: Joindre obligatoirement sous une forme sans forme au monde qui l’entoure. Et pour que les signes sont disposés sur la toile en prenant la double nature d’une épaisseur supplémentaire et de sens, ses peintures, en fait, entièrement recouverte de béton d’épaisseur de la matière chromatique, sollicitant constamment le langage de la peinture, la recherche de la raison à partir de son cohérence matière: à savoir la couleur et l’action des lésions de la peinture. (

Profezia – Prophecy

Художник Франческа Coletti наняла исследования тайных явлений чеканка и следы изображения, на участках, знаки, почти эктоплазмы графики, возникающих в контексте знать материально. Его исследования, кажется, вызывают внутреннее пространство памятника и это еще более четко направление его творческого путешествия. Тем не менее, признаки того, что линии и сделать его картинах не просто говорить о себе, но постоянно ссылаются на главное противоречие современного западного искусства: Приложите обязательно в виде бесформенного мира, который его окружает. И так, что знаки расположены на холсте с двойственной природой дополнительную толщину и смысл его картины, по сути, полностью покрыты толстой бетонной хроматические материала, постоянно призывая язык живописи, ища обоснование исходя из его материальных последовательности, а именно: цвет и телесное действие с краской. (

%d bloggers like this: