In the tangle of orbits, networks and arabesques that make up the characteristic figure of Letizia Galli’s work a very special “forma mentis” is reflected. Developed within a panoramic vision that we can by all means define scientific, this mental attitude becomes the key to a radical reconsideration of the practice of painting.
The first thing one notice in these works is that between the hand that paints – or rather, that “leads” the act of painting – and the surface of the canvas contact is missing: the brush, this millenary transitional instrument between the body of the artist and the painting, is excluded from the operational process.
Preliminarily we have the study and survey of representational or visualization methods of the various hypotheses of intangible or infinitesimal energies, moving particles, algorithms, fractal structures.
They may be called orientation hypothesis , routes approximations , X-rays of the invisible, emotional level curves. The part more properly related to the execution roots, on the contrary, in the physicality and the reactivity of the material, with the aim to predict and reproduce “in vitro”, or “in tabula”, the germinative processes of forms in their phenomenal concreteness.
We are on the edge between norm (mathematical formulas, geometrical projections, physical principles) and form (radial, spiral, crystallographic, rhizomatic structures).
But this kind of “naturalism”, so that decidedly abstract motifs are inspired by the most intimate molecular constellations of matter, is anything but a surreptitious return to the old and reassuring principle of “imitatio naturae”: these graphic patterns – that chemical and physical laws have shaped the natural world with – are neither copied nor represented on canvas or paper by Letizia Galli.
In reality such effects are rather “programmed”, as saying that the artist’s job is to prepare the ground for the occurring of the same order of processes that govern the development of the most secretive morphologies within the three kingdoms of nature.
And so painting, that entity that normally realized itself in brush’s movements and in the subject’s “intentio”, is to take body through epiphanies of a total different kind: precipitations, outcrops, erosions, saturations, splits, bulges, incrustations… a whole range of terms that suggest histological or geological phenomena rather than technical solutions and studio practices.
Programmed “Dripping“, painting thus identifies with its own mark, the artist’s hand moves allowing drips of paint jets or pigments mixtures that leave trails of various nature, now stretching into continuous filaments, now breaking up, now decomposing or imploding themselves.
The surface of the picture stands as culture ground and as a field for chemical reactions and the hand, which moves in calculated trajectories, concentric orbits or spiral twists, is at the same time seismograph and plowshare, irrigation and insemination tool. Finally, the painting: what, in consequence of these premises, simply, “happens”.
This is the pictorial mechanism implemented by Letizia Galli, which has its origin in a measured gesture whose progression brings together in one motion the possibility of multiple flows, now continuous, now interspersed, now overlapping, now parallel, with different gravitational behavior, constellating its path of punctuations, trawls, falls, precipitations…
Points, bubbles, asterisks that vibrate the uniform continuity of the “ductus”, which complicate the “remote” effect of the gesture. As a net directly interwoven on a seabed, the painting path cannot help but get tangled seaweed, permeated, encrusted…
This is a writing-painting that makes a single path with different “cadences”, like rain varying the trajectories along which all its drops place themselves: gale’s sprays or calm heavy and spaced drops insisting on a single intricate path. .. Or as a current dashing and crisping here and there, with its swirls, its stagnation, its air bubbles …
Triggered through a program which set off the self- generative mechanisms of the chromatic material, the action of painting really begins at the very moment the liquid trail emanates and detaches itself from the moving hand and impacts on the support, generating from time to time inflorescence , drags, globular proliferations.
The invisible reveals itself through a mechanism of chemical reactions, through the modulation of micro-catastrophes, a clinch between color and surface, between the fluid and the solid, like waves that leave imprinted on the rocks the stigmata of their shattering.