Giuseppe Marchiori

Ideas on time

Very often it is believed that present time is in complete antithesis to a not too distant past. Research into painting therefore assumes different aspects; it rebels against the laws, forms, and values of a present that seems to have resolved the problems of the moment and to have resolved them in a rapid course of events.
Today, either an artist is disposed to follow certain, apparently new, paths or is ready to challenge the present which often - all too quickly - becomes the past. Salvation therefore consistsa in a rational search for a visible quid that is fascinating because of its overwhelming mobility.
In a situation such as this, a young artist like Luciana Cicogna turns to an inner world without feeling herself too estranged from her own time, endeavouring to discover a true, spiritual dimension within it. This is the only way to avoid becoming lost in the chaos or being too drawn by external curiosity. And the right reaction occurred following a precise method, without being misled by outward appearances of striking but too easy and too ingenuous research. Luciana has instead imposed a reflexive simplicity - very difficult to realize at a time such as ours when we - too often - try the paths of an exterior experimentation materially destined to corrupt and to come to nothing.
Sheltering in her own interiority is not - for Luciana - flight: it is, on the contrary, a strict conquest that ideally draws her closer to the austere moral figure of another Venetian lady painter, Bice Lazzari, who believed strictly in an authentic intellectual discipline, in the value of a search for style, without even the slightest concession to the somewhat easy aspects of modernity. Luciana has managed to achieve images of extreme purity, of a lyric character that is stated through a colouristic musicality of subtle tones, of mysterious humility, of intimate harmony.
I think these paintings could be metaphorically defined as “the silence of things” precisely in a period in which there is a plethora of noisy and presumptuous things.
I do not know if what I have written above explains such very genteel and reserved art. But this is the impression gained when considering a composition of this rigorous simplicity and refined colouristic taste. These are still-lifes that fit into the ambience of a precise structural dimension, but always within the bounds of fantastic, limpid grace. Perhaps Luciana’s art could be defined like this: recollected, placed in time, and severe in its contemplative concentration.


translated by Patrick Knipe