Lucia Dell’Orto’s artwork enchants and mystifies in equal measure. In some ways her wall works can be seen quite traditionally as residing?in the worlds of construction and collage consisting of found imagery and materials, where antique pieces and found objects co-habitate in a field of innocent disquiet. This connection of old and new implies the suturing together of imagistic time and space rented by unseen but felt forces. Delicate marks and forms increase the layers of mystery and play, which are the touchstones of her vision. Yet there is something quite untraditional that lurks in these works as well.
There is a sense of heightened significance, of dramatic tension, which courses through this work.
In his discussion on meaning the French philosopher Henri Bergson makes the essential point that it is put into play when a level of incongruousness and a certain amount of inherent vitality is brought to our attention in unanticipated ways often by pitting opposites together, such as mechanistic artifice (and stringent inevitability of one kind) against natural and/or biologic (inescapability of fluid chance). He?writes: “...As we are both in and of it, we cannot help treating [society] as a living being. Any image...suggestive of the notion of a society disguising itself...will be laughable. Now such a notion is formed when we perceive anything inert or stereotyped, or simply readymade, on the surface of living society. There we have rigidity over again, clashing with the inner suppleness of life.” This passage expresses in some fair measure the quotient of vitality that courses through Lucia Dell’Orto’s work that deals lightly yet effectively with feelings, perhaps, of loss, separation and passage of time. Within this balance of tensions the artists constructs intimate scenes in which we perceive mindfulness (with its emphasis on non-closure) investigating the relationship between the individual and the universe.
Dal saggio critico di John Austin per la mostra di Manhattan del 2015