Franca Pisani - The Time of Life

The work in question was exhibited at the “Attraversamenti” exhibition at Palazzo Sant'Elia in Palermo.

The work draws on an Informal aesthetic language. The devastation wrought by the Second World War left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge resulted in a total rejection of any visual language, resulting in the birth of Informal Art. The various Informal movements are certainly connected to American Abstract Expressionism, especially with regard to the gestural component, but they go further in their rejection of any figurative element, even geometric. Their research focuses instead on the material with which they compose their works. Always committed to the exploration of experimental aesthetic languages, aiming to subvert the rules of traditional figuration and achieve complete creative freedom, artist and performer Franca Pisani has long since found the stylistic signature most suited to her in a more specifically symbolic Informal Art.

For Franca Pisani, the sign is an element of passive rebellion against an art burdened by the historical superstructures it carries with it. Franca is therefore seeking a sign that is both a manual tracing and a pure creative act. For this reason, the sign, in most of her works, takes the form of an irregular path, subject almost to a spontaneous, vegetal development, simultaneously branching out and connecting. Furthermore, the sign must also be something tangible, that enters the viewer's real dimension and definitively emerges from an abstract dimension. For this reason, Franca Pisani's compositions often acquire a material and three-dimensional connotation, given by the use, along with pictorial media, of concrete materials such as oxides. In the case of the present work, the connection with reality is also made through a meditation on Spatialist poetics, which leads Franca Pisani to a strong and definitive gesture. Compared to Lucio Fontana's calibrated cuts, the Grosseto-based artist chooses to create a deep fracture on the surface of the work, abruptly introducing the accidental nature of reality and experience. The composition thus takes on a powerful aesthetic impact that can be traced not only to this artist's distinctly informal streak, but also to the expressive power of so-called Brutalist art and the poetics of Arte Povera, both of which are part of Franca Pisani's formative background.

Franca Pisani was born in Grosseto in 1956 to a family of artists. At the age of nine, encouraged by her precocious talent, she attended the studio of sculptor and painter Alessio Sozzi, who taught her all the painting techniques: fresco, oil, pastel, watercolor, mixed media, but above all sculpture, drawing on Etruscan techniques, clay, and earth tones. Maestro Sozzi encouraged her to tenaciously pursue art and study in Florence, the cradle of the Renaissance. As a student, she avidly frequented the Uffizi Gallery, unaware that her work would eventually be displayed there, in the Vasari Corridor, in the Self-Portraits Collection. In December 2014, she participated in the "Backstage Exhibition" at the Uffizi, and after the exhibition, her self-portrait, along with that of Bill Viola, was exhibited in the Vasari Corridor.

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