Milan, March 17th 2012, from a conversation between Sara Enrico and Milovan Farronato: "L'Adaptation, Les Variations, La Disparition, Le camouflage, L'Analogie, Les Mutations...": are notions dealing with your painting patterns?
Abstract landscape. This is the first thing that made me think of. Actually it‘s a fluid surface, a magma that my eye wants to explore and go through, while working. My hand can modify it, through many actions, variations, stratifications. In the vision there’s an ambiguous connection with the concrete shapes, that I avoid, but they come back as if there was a zoom drawing nearer to the surface and getting away from it, creating shifts away from my objective. Often the observer finds out something figurative or is looking for some relation of likeness with something known. It happens to me too. Then I drive myself into the micro-areas in order to cut myself from general vision and allow me to move the matter, researching the depths and the mimicry, maybe... Even I like to get symmetries inside the image, these are sham, because got through heuristic processes.
Spaces, volumes and perspective always deal with a west gaze. Motifs, ornaments, surfaces; to face the surface drives me more to the East. Or, however, towards a non-Western approach. How do you feel?
I feel iconoclastic, I feel a strong attraction to everything that is color, matter, rhythm. For me the painting is not a window on the world, it is a wall that I reshape and transform, it’s a fragment which, widening its borders, could be something else… a sculpture… or maybe a cloak.
Maybe a mantra or prayer to… or just a pattern (cartamodello)! The notions I started with are drawn by a book about textile design (mentioned in a work by Nick Mauss). They are the titles of the chapters the topics were divide into… End the went on: “… L’Actualisation. La Fragmentation. Les Metamorphoses. Le Poème Ornamental”. Which is your ornamental repertoire?
Repertoire. When I was a teenager and studied piano I couldn’t wait for people to ask me to play my own repertoire. But now the question is not so easy. Ornament. Definitions are always difficult. However I could quote some recurring elements that is part of a very personal aesthetics code. Some are almost invisible, but nonetheless important: the frayed canvas edges and the metallic rings I use to hang it to the wall, the fold and the print, the color even when isn’t just a color but becomes matter or glue, and then there are the symmetric variations...
Sara Enrico (1979). Selected exhibitions: Per te solo il cuore dimentica ogni suo affanno (GAMUD, Udine, 2012); Officine dell’arte (Viafarini DOCVA, Milan, 2011); Aghilysti (Artissima Lido, GUM studio, Turin, 2011); Ancora un altro esempio della porosità di certi confini (Galleria Alessandro De March, Milan, 2011); 3 mm al giorno (Cripta 747, Turin, 2011); Festa Mobile (Bologna, 2011); Less concreteness (MARS, Milan, 2010); Fort/Da (CARS Art Space, Omegna, 2010). Residency programs: VIR viafarini-in-residence, Milan; PAINTING DETOURS, Villa Gorgo a Nogaredo al Torre (Udine). She’s member of Progetto Diogene (Turin).