REVIEW by Prof. PAOLO LEVI
The abstraction suggested by Silvana Abram’s personal painting style is an efficient synthesis of the finest painting particulars and lyric visual enthusiasm.
Her masterpieces expose composed alterations of soul dynamics and the reasoned chromatic selection attracts the visual attention of the viewer who is thereafter emotionally overwhelmed by soothing colour waves.
When viewing those masterpieces, it seems tranquillity is pervading the canvas but colour flashes flare up the painting in a joyful manner, powerfully vivid yet accurately studied and measured in the context of a sound architectural composition.
The artistic result is so visually empowering thanks to a clever adoption of colour lighting techniques; this feature becomes essential when viewing and understanding her style. Broad and different backgrounds, defined by an embracing motion, come together generating an unique and eclectic blend of colorations that mingle in a delicate manner. Colour waves clash against each other taking the visual result to different extremes: colour patterns disappearing amongst each other or separating them with broad lines. The impression conveyed is one of a spiritual magma generating different yet enticing observations.
Silvana Abram takes the definition of painting to a higher level, a dimension where perception in reached by emotions and feelings. A magical emotion perception.
The artist makes her paintings original and unconventional. General artistic movements and current pictorial thoughts do not belong to her originality that represents a breath of fresh air reaching high spiritual levels that are not experienced by many.
Her artistic compositions create a direct and intimate communication link with whom is standing before them.
Her originality relies on the use of song lyrics, feelings that sometimes conflict with one another, mixing visionary experiences with important events happened in human history.
This emotional whirlwind is filtered and conveyed using a deep artistic sensitivity highlighting and emphasizing fragments of a reality filled with light and unperceivable vibrations, airy and quick like a blink of the eye.
in "Creating" art book by prof. Paolo Levi, Paris, December 2011.
THE DESTINY OF AN ARTIST by DONAT CONENNA
Silvana Abram: spiritualism in artistic abstract realism
Despite her background in humanities, thanks to tone abstraction, this artist has discovered the implementation of an unique medley whose features belong to the daily theatre of the absurd where colour light and space are continuously moving towards an unknown and permanent central point of gravity.
The canvases are widely open to the observation of fascinated eyes that fall for visual enchantment also when standing in front of a “Felix” scenario, in a unique and singular imaginative world, these are the theatrical settings of "day dreams" by Silvana Abram. This emotional charm unravels the pictorial complexity that could not be more articulated, moreover also nurtured with narrative greatness and with emphasised details that become reality in the form of colour harmonies, projections of different light hues and graceful tone modularity.
A grand framework made of abstractions, both intentional and unwanted and often evolved into different results. All this composition is dealt in a way to be light years away from any reference to post-modernism: the inner scenario is as just as you stare at it. And on the other side, the strong and clear willingness to always be only herself; the need to interpret the chromatic and visual balances is endless and perpetual (there are no signs of this endeavour in the works of Mrs Abram) to make them become “corridors” for literary-emulsified changes since the classicism of the to the atmospheres of “abstraction language”.
This given circumstance is such a rarity in the current and too harmonized artistic trend where artists frequently depict intellectual reality without interpretation or any kind of emotional research.
Silvana does not belong to this artistic movement at all as she investigates reality including every single undisputed emotional detail and including them in her masterpieces.
R A T I N G
CAREER DURATION: 20 YEARS
CREATIVE PRODUCTION
RESEARCH PARAMETER:10/20
WORK DIFF.: MARKET
EVALUATION TREND: STABLE
ART FAIR ATTENDANCE: HIGH
CRITICS APPRECIATION: HIGH
PARTICIPATION: QUALIFIED
MAIN WORKSTREAM: ABSTRACT
INVESTMENT:10/20
THE NEW BLAUE REITER
In the works of Silvana Abram we clearly notice a strong echo of a new “Blaue Reiter”, as when in Munchen, at the beginning of the twentieth century, (in that period, in this German city arts were more cosmopolitan and culturally more vibrant than in Paris) arts groups arose continuously with the influence of foreign authors, including Wassily Kandinsky, Paul Klee and Alex von Jawlenskij. And right in 1911, from this Bavarian association, in opposition to the Secession and the strong bourgeois and impressionist tendency, Kandinsky and Franz Marc departed this group to found the Blaue Reiter (Blue Knight). The two were soon joined by August Macke and Bernard Koehler, who was the sponsor of the group: these artists were united by the desire to establish a relationship with the music and ballet, science, philosophy and religion, with French and Italian artists, with problems of cultural policy, as well as including the vision of Kandinsky on the spiritual in art. The group, in fact, embeds into their production the orientation spiritualistic, moreover the vision of art as impulse of the inner man. And this is Silvana Abram’s artistic manifesto: a new and personal freedom to look at artistic compositions, which free to be free and at the works of classical arts. Donat Conenna
“Symbolism, harmony and spirituality
coexist in Abram’s works”
Art critic, Ermanno Corti, introduces Silvana Abram
Silvana Abram’s painting style is a synthesis of present day painting expressions. It boasts pregnant, well-conceived forms which lead us to look at her works’ original style with greater attention. Themes crowded with profound symbolism and descriptive fantasy dwell upon an evocative scenery along which colours flow in a masterly manner. In her paintings what immediately catches the beholder’s attention is the essential and coherent binomial of colour-light being steered by an extremely sensible concept of modern art abounding in memoirs and sentiments. Abram is able to carry out that with an outstanding mastery. Either the tension of forms, the chromatic harmony and the dynamic trait, ever steadfast and particularly accurate, reveal a strong emotional potential.
The outcome is an outburst of creativity and personality where matter and colour become protagonists so as to power a stand-alone artistic image of uncommon pictorial quality. What is distinctive in any of Abram’s works is her passionate and tangible interpretation. The rigorous interchange between colours and forms leaves it’s own mark on the way her works are being done. Abram’s own skills, sound educational background and dexterousness all point up an unequalled high-quality conceptual narrative she has the capacity to convey onto her paintings. The result is pure poetry. By making use of both acrylic on canvas and an essential expressive language she’s able to mould her works in such a way that her indisputable skills become apparent. Hers are extremely fascinating paintings which, by means of a masterly utilization of tonal and sign harmonies, are borne out by content and style; the substantial trait, the liveliness of colours and the structure itself all together go quite beyond a sole aesthetic representation to inspire an intellectual, spiritual dimension of longing vision.
That of Abram is a sensitive spirit. In fact her works have the capacity to convey genuine messages that are so intense and rich in values. She makes use of a rare language constantly open to stylistic research. Consequently, exclusive subjects permeated with poetic truth and expressive force arise. Silvana Abram’s ever-evolving singular style is her distinctive trademark.
The one-woman exhibition, scheduled for October 28, 2011 at “LA TELACCIA” Art Gallery (Turin) will certainly have a strong emotional appeal on the visitors. The emotions that the exhibition is much likely to arouse come straight from the bottom of Abram’s soul. They are the fruit of her professional experience, earnest studies and deep commitment to modern art.
CAM 47
Catalog of Modern Art. The Italian artists from the early twentieth century to the present. Mondadori 2010-2011, Silvana Abram P.122, 128.
"The paintings of Silvana Abram have an often informal taste.
They are characterized from refined chromatic harmonies and from a dynamic and secure stroke that develops/creates compositional balances, rich of symbolic value. "
in "Vedere a Torino", The Art Newspaper, November-December 2011.
THE INFORMAL COLORS OF LIFE by ELISABETTA ZAMARCHI
Silvana Abram’s works remind us immediately of what Merleau Ponty wrote about art, that is, the secret of art is based upon a process of providing meaningfulness rather than mere imitation. This concise assertion includes the meaning of the 20th century’s research work carried out by philosophical aesthetics which can be summarized in two questions: what is the aesthetic power of painting? Is it the capacity of representing reality or rather transfiguring it? Moreover, what is the potential of pictorial images and what are their a priori implicit ends?
Maybe the 20th century’s greatest merit has been that of acknowledging a specific meaning to painting as an art able to unveil cognitive activities being engrained in perception and body emotionality, as a place of thought which makes clear the immanent meaning of tangible reality without philosophic mediations by catching the invisible – spiritual, divine and holistic – in the background of the visible.
What appears, upon seeing the informal colors used by Silvana Abram, is the fusion between aesthetics of painting and aesthetics of vision since an operative theory of painting can be perceived whose formal end is the search for a dynamic interaction amongst senses, the sense of sight in the first place, but the sense of hearing as well, because the lyricism of this peculiar poetic abstractionism does communicate with the beholder. It so happens that Silvana Abram is also a poetess.
By looking at the abstract of color fields, both lyrical and informal, which characterizes Silvana Abram’s paintings, one can see immediately the phenomenological suspension upon the existence of things. Things, upon which we all base our hearing and willingness activities, are seen to be aesthetically enjoyed along a research style which aims at detecting their regular and distinguishing features. People, faces, oneiric figures and spaces both fanciful and real, all become images, something that distances itself from forms in order to arouse the mind of the beholder to overcome the limits of perception and to vary its perspectives.
What one can grasp in the artist’s works is the tendency to follow that secret bent that Merleau Ponty attributed to painting as a peculiar activity, that is, its making reference to the body as a medium used by the individual to be alive. It is thanks to this peculiarity that the pictorial art is no imitation, or rather it’s “the painter who is born from the objects as an expression of the visible, and a painting may refer to any empiric object provided that it is self-figurative. A painting may be the exhibition of something if it is the exhibition of nothing only, if it can bore the shell of objects to show how objects become objects and the world becomes the world .
Silvana’s images, made by means of a magisterial composition of acrylics, pigments and earths, fusions of color fields where black is hardly present, remind of the sense of a visual perception engrained in the living body, manifestations of an ancestral ego which can symbolically express itself through a technique aiming to represent the soundless language of the body. Abram’s painting of aesthetics starts from a vision aesthetics which reveals the interlacement between the ego and the world, the body and the world. At the same time it lives the space not as the “sphere” (be it real or logic) in which objects are placed but the medium for which the disposition of the objects becomes possible . Silvana Abram’s a priori figurative painting can be felt in her way of outgrowing the two-dimensional reality of the painting which turns into a self-centred living space. A space brought to life through the eye of the beholder. A space that offers the beholder great possibilities of form transmutation: “Form transmutation means that what existed before does not exist any longer. Moreover, transmutation also means that what exists now, being part of the play of art, is the true permanent essence ”. The beholder stands before the true permanent essence of flowing life.
Eli. Z., Philosopher, Phenomenologist, Aesthetics Expert, Philosophy Counselor. June, 2010
