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.

The Synthetic Landscapes and Braille – Alessandro D’Aquila

Nowadays communication does not give space and time

interpretations, for this realization “synthetic landscapes” reduced to simple forms of a color, as described to a blind person. Is well established, putting them on the same level, some sort of parity between those who have a sense and who is not. Tento, also, of causing in the observer a sense of loss, using the Italian language written in braille, however, incomprehensible for most of the sighted people. The Braille becomes a cryptic decoration of great visual impact, regardless of its decipherability.

I want to hit the observer making him understand that, after all, we can see only a small part of reality.


communication d’aujourd’hui ne donne pas l’espace et le temps

interprétations, pour cette réalisation «paysages synthétiques» réduits à des formes simples d’une couleur, comme décrit à une personne aveugle. Est bien établie, de les mettre sur le même niveau, une certaine parité entre ceux qui ont un sens et qui n’est pas. Tento, aussi, de provoquer chez le spectateur un sentiment de perte, l’utilisation de la langue italienne écrite en braille, cependant, incompréhensible pour la plupart des personnes voyantes. Le braille est un décor énigmatique d’un grand impact visuel, quelle que soit sa decipherability.

Je veux frapper l’observateur lui faire comprendre que, après tout, on peut voir qu’une petite partie de la réalité.

In equilibrio sul mondo

связи сегодня не дает пространства и времени

интерпретаций, для этой реализации “синтетические пейзажи” сводится к простым формам цвет, как описано для слепого. Хорошо известно, что ставит их на том же уровне, какой-то паритет между теми, кто имеет смысла, а кто нет. Tento, также, вызывающие у наблюдателя чувство потери, используя итальянском языке написаны шрифтом Брайля, однако, непонятным для большинства зрячих людей.Брайля становится загадочным украшение большое визуальное воздействие, независимо от его decipherability.

Я хочу, чтобы поразить наблюдателя делает ему понять, что, в конце концов, мы можем увидеть только небольшую часть реальности.

Radura, Pensieri

Kommunikation heute nicht geben, Raum und Zeit

Interpretationen für diese Verwirklichung “synthetische Landschaften” reduziert auf einfache Formen einer Farbe, wie einem Blinden beschrieben. Ist gut etabliert, indem sie auf der gleichen Ebene, ist eine Art der Parität zwischen denen, die einen Sinn und wer nicht. Tento auch, verursachen beim Betrachter ein Gefühl von Verlust, mit der italienischen Sprache in Blindenschrift geschrieben, aber unverständlich für die meisten Sehenden. Die Braille wird eine kryptische Dekoration große visuelle Wirkung, unabhängig von ihrer decipherability.

Ich möchte den Betrachter macht, ihn zu verstehen, dass, nachdem alle, wir können nur einen kleinen Teil der Wirklichkeit sehen, getroffen.


la comunicazione dei nostri giorni non dà spazio e tempo

alle interpretazioni, per questo realizzo “paesaggi sintetici” ridotti a semplici forme di colore, ossia come descritti ad un non vedente. Viene così stabilita, mettendoli sullo stesso piano, una sorta di parità tra chi possiede un senso e chi no. Tento, inoltre, di provocare nell’osservatore un senso di smarrimento, utilizzando la lingua italiana scritta però in linguaggio braille, incomprensibile per la maggior parte delle persone vedenti. Il braille diventa una criptica decorazione di grande impatto visivo, a prescindere dalla sua decifrabilità.

Voglio colpire l’osservatore facendogli capire che, in fondo, riusciamo a guardare solo una piccola parte della realtà.

Strati a terra, Terra a strati

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. (

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