Art Critiques

Elisa Bonotti's works: as if they were our memories

Sometimes I wonder how art can be so engaging, and how some artists are able to
be able to imprint on canvas a moment, a subject, a memory in which we can
see ourselves limpidly.
There are certain painters, moreover, who do not need minutely descriptive narratives to
narrative, who do not need to render a perfectly realistic face through the
modulation of color or definition of forms, to get straight to the spirit of people.
Elisa belongs to this category of capable, brilliant artists, who through a personal style,
which has now become her hallmark, lightning-fast crosses the audience's chest, reaching
direct to the heart.
Marc Chagall, in his time, stated that:
"In our lives there is only one color that gives meaning to art and to life itself. The color of love."
Here, I would like to translate this statement into Elisa's art.
In her works there is only one color that gives meaning to the compositional structure, and this same
color is on the one hand a messenger of timeless stories, and on the other hand it is a vehicle of the immense love that
Elisa has towards art: love that becomes an integral part of the chromatic fabric and that,
as in a magic, rebounds and envelops those who observe her works.
Who, looking at Moment, has not revisited a kiss of their own and perceived tactile or
olfactory sensations of that moment? And who, observing Daily complicity, has not revisited that delicacy
generated by complicity and, seeing all that yellow expanding across the canvas, did not feel the
warmth of the sun that on a past summer day kissed one's skin?
Elisa's works evoke memories, emotions, reflections, relationships.
I strive every day for a universal art, within everyone's reach, and I love those works capable of
embrace everyone's experiences. Contemporary art, among all its endless innovations, has
contributed precisely to works taking on a personal language of the artist, a
language that was highly communicative and engaging.
Elisa's art is art for everyone, it is a crystal clear pool of water where one can glimpse one's self, one's
one's own memory, and it is not something taken for granted, not something easy and ordinary. Not all works of art are
able to move the soul, to whisper emotions, to conquer and enchant.
And this is where we see the skill of the artist, and in this case Elisa: being able to combine
personality, technique and emotion, and seal it all between canvas and color.

I tell you about this society in my own way, through my eyes and my colors. The works of Elisa Bonotti

Three colors. Three colors are enough to represent and spread, loud and clear, a message.
A social message that aims to be a real awareness campaign where art is the only medium.

Thus, Elisa's art captivates and drags in those tragic imaginaries such as child exploitation, stolen childhood, discrimination, war and all that comes with it, all the attached feelings that are generated. And while on the one hand Elisa made use of subjects known to us, such as McCurry's photographs, on the other-it seems that she felt the need to mold figures of her own, detaching herself from references known to us and reworking images and photographs that depict countries and cultures that we often forget about, because we are too busy looking at ourselves, because we are busy feeling sorry for ourselves without realizing that instead we are elected, we are lucky.

In the transition from the depiction of Afghan Girls to The Girl in Blue and The Golden Boy, one can see maturity and artistic autonomy, as if Elisa is convinced-quite correctly-that she can tell about social suffering through her own imagination, in a more autonomous way, without seeking any foothold in the great masters of photography. Elisa transports street art to her canvas, makes it usable for everyone, transforms it in her own way by creating a unique, adaptable, youthful but studied style from which a formal research emerges.

Through the analytical use of color, Elisa not only creates her forms, but instills meaning in the color itself, bringing it out in a direct and forthright manner.

Taking two works in particular, The Girl in Blue and The Golden Boy, what stands out in immediacy is the predominance of one bright color over the other two neutral colors, namely white and black. She asserts this herself in explaining her way of telling us: the theme color carries in itself how much she wants to communicate.