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Raffaella Iannella

[...] Gesture as a release, a critical cry on canvas, superseding proportion and beauty.

On the other hand, the use of a virtual reality, meticulously created with everyday event, has had the effectiveness of an equally prodigious fracture, ending in the inversion of mere rationalist “description in favour of imaginative and psychological sublimation. A prerogative which has involved the representatives of a «hyper» vision and has been successively assumed in recent years in the paintings of Antoni Miró. [...]

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PETRODÒLARS, 1996 (Acrílic s/ taula, 35x35) Antoni Miró