Criticism

"Li Gotti's modus operandi is characterized by the experimentation of different pictorial techniques: a very personal mix of oil colors, acrylics, pastels, china and ink. His works, clearly of an informal matrix, are characterized by the wide and expressive, in dialogue with each other, which give life to a single compact and uniform visual representation. Ours does not adhere to figuration, judging the mimetic connection to reality as an emotional obstacle. She intends to place her own creative process on one level of purely pictorial means of expression, in the name of the elimination or maximum rarefaction of every objective reference point of the image. Those of the artist are configured, in this sense, as serene abstractions, suspended between lightness and transparency, in which the brake of realistic reproduction, with a totalizing chromatic lyricism. His research is aimed at undermining the superficiality of the immediate, with the goal of attempting a way to penetrate the vital magma from which creation is permeated. You arrive at this result with an elaborate style, in which the intention to communicate is implied, without however revealing too much. The artist states: "Sometimes we speak or write with difficulty and anyone looks for different spaces and means to be able to express themselves. Often art becomes the means to be able to say in silence without anyone discovering, knowing, intending. " For Li Gotti, inspiration comes from the observation of the objective datum, from which, however, she abstracts the formal component, focusing in particular on light refraction, accessories and contrasts. Her love for Nature, in all her manifestations, gives life to introspective images full of suggestion. The palette, cariando from green to blue, from light blue to wisteria, creates luminous works, in which the color remains as a reminder of the material. You strike the attention to the use of light, a fundamental prerogative of the great Venetian painting tradition, shaped on a visual poetics oscillating between thought and emotion. The artist spends long periods in Sicily, precisely in S. Vito Lo Capo, the strength and warm colors of this wonderful land are imprinted on her spirit. Rugged views, pristine sceneries, the clarity of the water are sublimated in a simplified, yet vibrant and abstract lexicon. The blue color is the memory of the Sicilian sky, as the green is of the meadows furrowed by the wind. A characteristic element of his paintings is the desire to transmit a subjective vision that can stimulate in the viewer the recovery of a personal moment, lived and sedimented in the mnemonic substrates. This process generates an epiphany of emotions projected onto the support, in a spiritual atmosphere, in which joy and serenity are the fruits of a dialectic between past moments and magically rediscovered using the brush. The observer, in front of the explicit visions, internalizes the artist's memory and is moved to personal reminiscences, full of feeling. The paintings are therefore a vehicle of profound sensations, aimed at reflection and projected towards a metaphysical meditation. In this perspective, the mimesis of reality is not perceived as a decisive element, as the hope is instead to overcome the sensitive data to lead to the exploration of the ego, through chromatic suggestions. In Li Gotti's paintings an element detached from the measured composition is always present and various shades of color of the variegated brushstrokes are centralized. The body plasticism of the figuration gives way to a formal simplification responding to the emotional need of his pictorial expression. The artist never cuts that slender thread, the link between the spiritual and immanence. Li Gotti's creation is free, reaching out towards a higher world, capable of giving dreamlike atmospheres of infinite beauty, in which any space-time connection is lost, decisively denying the concept of painting as a closed limit. In his production, the natural elements, synthesized in an informal lexicon and combined with a lively and intense chromatic range, are the semantics of an artistic poetics, expanded in the direction of a sublime and ecstatic representative dimension".

- Professor Gianni Dunil

"Anna Maria Li Gotti is an artist who has had considerable and important awards in Italy and abroad and is carrying out in synergy with Spoleto Art festival, [...] a significant artistic path with fascinating relationships and results. In fact, the organization and we who represent it remain more and more positively amazed by the skills and strength of this artist, [...]. If it is true that contemporary art is made and animated by many actors, the artist is the main actor and protagonist, without which there would be no creative acts and therefore works of art, which are the final object around which everything revolves. Presented […] in Brussels, a new issue and a new cycle of the twenty-year Giovani Europeani Magazine [..]; through which, together with many other media tools at our disposal, we want to understand and make 21st century Europe better understood through contemporary art and culture. [...] In this journey A. Li Gotti was a protagonist with us in an attempt to make young Europeans passionate about a new Europe, not that of non-statehood and buildings, but that of culture and international mobility that have marked the past Erasmus generations and the one that preceded it, that of dreamers and idealists like Altiero Spinelli, but in times of crisis, dreaming a little bit costs us nothing ... it can be done!"

- Professor Luca Filipponi

"The soul of the form in Anna Maria Li Gotti's paintings comes to our very engaging gaze, thanks to her excellent creative flair. There is no doubt that the Artist has an immediate need to externalize her emotions, hidden in her deepest unconscious, making them emerge in the conscious part of her "I" to impress them with the chromatic force on the pictorial space. Admiring her work is like being in an overwhelming dimension with the intensity of impulses that transmit the expressive sensitivity of a valid Artist, lover of Nature. Anna Maria Li Gotti transmits in her paintings that emotional reservoir that becomes the common denominator of all her interpretations, through the range of color that gives emotional shape to her suggestive creativity; in them, in fact, she perceives a painting to enter the hearts of her admirers and passionately communicate her infinite poetic pictorial sensations".

- Anna Francesca Biondolillo

"Anna Maria Ligotti intrigues the observer with a creative fury that passes from the arm to the hand. The brushstroke is inseparable from the gesture, from the moment that determined it to lead the observer out of the work, to ask himself the reason for the creation, to rethink the moment of action. A great dynamism is the main protagonist, the surface becomes a dimension to be conquered, involved, directed beyond the limits of the canvas: for the artist, breaking in with color is an act of energetic freedom, a moment to soar. elsewhere. Ideally overcoming the boundaries that the work possesses, color tends to predominate over everything, to invade the space becoming the personification of a vital charge. A gushing vitality and liveliness are the cardinal trace of which every painting is pervaded, to such an extent that every creation is a unique innovation and an unrepeatable novelty ".

- Anna Soricaro

"To assimilate painting and the visual arts to all the mechanical effects of a fatality of doing, is a minimalistic error which one can fall into, in flagrance of a certain nihilistic junk that favors the nuclei of the disintegration of being by reason of having, which is more and more inglorious and fleeting, but when you look at this 2004 sea storm or the 2001 Mattanza precedence, you are reminded that all is not lost even if in an eclectic identity, where hiding is better than revealing yourself, as if you were playing to a chase of irritation and provocation, but this is not the case, or rather it does not always. Anna Maria Li Gotti happens, a singular homologation phenomenon, for which the elements of similarity surpass those of antagonism, generating a single great picture fragmented into many small parts, which each find a value to establish a link, without losing the underlying reason for its being separate and livable in a way autonomous. The inspiration is triggered, every time, starting from the observation in a precise place, which can be a house, a long wheat field or an exotic trip to the Red Sea, but that outcome is always to focus on macularity, on the effects of light, on accessories, on contrasts. this is a serene abstraction, devoid of disturbances, made from a close observation of nature, of which, therefore, the boundaries escape and you have the same effect as the distance, with the encroachment of details and therefore the possibility of grasp the absence, as a state of mind of suspension, of lightness and transparency, which gives these images a great sense of tranquility, with a corresponding invitation to contemplative immersion, to lose every reasoning reason and be captured by the universe of the sensations that are released and become the mirror of a visitation that opens the doors to the intuition of an infinitely great, tending to a sublime that puts the pompousness of the word in default, which is always later than the images and then, often, not it is to it that we must have recourse but to a congeries of non-verbal languages, freer and more unscrupulous. The paradox lies precisely in officiating the word, in highlighting its own limits and indicating, in this, as in many other similar cases, the privilege of an energetic relationship, made up of fluidity of sight, which is able to better grasp the events of this dissemination made in the absence of wind, but in the presence of an evident invitation to dream, albeit with open eyes, because the best way to understand a certain type of painting is not to think, to let oneself go to the flow of sensations, which they are the anthropological residues of being with the panic universe, with the primeval being a certain type of art that brings to the fore in a luxuriant and current way ".

- Francesca Gallo

"With delicacy and intensity, Anna Maria Li Gotti instills in her works a personal vision of the world, moderately revealing its hidden poetry. Her paintings are inlaid in an atmosphere painting of dreamlike and surreal value, in which gesture and color are they blend in the refinement of thought that touches the tangible, overcoming the chromatic and formal dimension. The result is a figuration detached from rational canons, evocative and fantastic, yet mimetic of the real and always able to preserve a certain level of legibility that allows its communication . The works show a balance between conceptual sedimentation, technical invention and emotional impulse, expressed with a poetic language full of deep echoes, as well as stains and chromatic shades that triumph on the canvas creating a wide breath. In the passionate exaltation of the forces of instinct. and of the unconscious, the painter pours out her intricate expressive complexity, but also a certain harmony a interior, which anchors with the visible reality of things, she composes a story on the transcendental meaning of life and human destiny. The painting becomes an instrument of poetic language into which the artist instills his instinct and his energy, confirming the emphasis on the ability of painting to express universal and eternal values. The images fix the gesture by embedding the space-time relationship in the ephemeral splendor of its own beauty, upon which gleams of unreal light rest, the shades of which become the very body of a painting that rejects the concept of the painting as a closed place and, deep within the ego, where the liberating and vital act is confronted with contingent reality. Atmospheres that, starting from the real, access a chromatic and formal dimension cloaked in bright and vivid colors, in which the sign bypasses the tangible to blend with the essence, preferring the depth of dreamlike thought. An act of existential will that is confused with the same aesthetic practice, through the release of intimate and irrational energies that testify to the artist's strong interaction with life".

- Margherita Biondo

"Today I picked a coriander, signed Li Gotti sparkling with evoked worlds, vibrant with boundless suggestions, of visions born of a passion never silent mother of pure art, without compromise. And in its confined space between the streams of pigments and signs illuminated by watchful fingers, I found lives there, human, immortality ".

- Anonimo Siciliano

"A descent into the ambiguous elegance of emotion. "Suggestively poised between the figurative and the informal, but inclined to become a tale in some way, the canvases of Anna Maria Li Gotti, a Friulian painter who has worked in Conegliano Veneto for many years, have the light now weakened, now blazing that from the immense Venetian tradition has moved into the gusts and nuclei of this painting between reasoned and emotional, so as to offer suggestive, soft, sometimes dreamlike, sometimes alarming fragments of a private and at the same time universal psyche, transformed into a story. But since the paintings speak according to the severe laws of painting, it is necessary to dwell on it. To grasp the silent vastness of its backgrounds, the prevailing of each canvas of a background chromatism, the clashing or dipping of other chromatic shorthand, sometimes the sheltering on the canvas of two or more sections, sometimes instead the merging as in visions both equoreal and towards its borders. Painting full of suggestion but certainly also of competence that has bewitching aquarium magic rendered with sustained elegance. Works like the best informal that suggest without specifying, that excite without the ambiguous figures of dateness. If we were to find a comparison between these pictorial tales and the naturalness of things we would have to talk about sun and wind, sea and plant nature: realities often suggested by this painter who, from the threshold of the sayable, victoriously tries to tell us what cannot be said. . Please Florence to welcome this exhibition which, with the feminine wisdom of the emotions of the psyche, offers us a series of canvases without errors, a painting that finds in itself the deepest reasons for her".

- Pier Francesco Listri

"I am happy to talk about Anna Maria Li Gotti, whom I know both as an artist and as a person. I have always been struck by her sensitivity and generosity, for her, painting is a vital necessity, a way of salvation and joy. Experiences and emotions experiences become a starting point for creativity and artistic expression. The artist is completely immersed in the action of painting, relying on color that becomes a vehicle of emotions, for this reason I underline that in his works there is a lyrical use of color. Always delicate, yet confident in her gesture, Anna Maria Li Gotti lets the instinctive part of herself emerge, rationality is put aside for a while. The design remains only hinted at. It is the color that fades everything, or explodes in a memory of storm on the sea, or luxuriant vegetation or flowers only dreamed of. The sea of Sicily is present as a blue memory, sparkling or dangerous from gusts of wind. Sometimes with a few brushstrokes it manages to achieve a synthesis effective that communicates emotions to us while always remaining faithful to one's inclinations that lead her towards a type of instinctive expression. The artist has followed his own research path, greatly refining his skills and achieving results of considerable lyrical intensity in recent years. She wanted to enrich her experience and deepen her knowledge in the field of art by attending various courses at the Academy of Fine Arts and the International School of Graphics in Venice. We just have to accept her invitation to experience a few moments in this world of hers so full of vitality and poetry".

- Franca Morandi

"Li Gotti Anna Maria ... woman ... painter ... there are no disjunctions, her character is confused with her works. New art that I would define as a chrysalis that is about to become a butterfly and in fact colors are velvety and impalpable like butterfly wings. Free therefore, from every scheme and prototype, but also without consumed vices where the random colors make up the thoughts of her that she recurs without knowing where they will take her, but they exist and create those distant and close emotions that we would like without perhaps utopically breathing. Those tender yet tormented colors often reveal remote presences or, if we linger longer, existing and almost inquisitive presences. Hermetic signs to any interpretation ... but not trivialized ... this IS the holocaust offered by Li Gotti ".

- Giancarlo Girardini

"His painting struck me because it touches the most intimate and secret chords of the person, has a very particular palette of colors, leads the observer to reflection and meditation".

- Giorgio Pennazzato

"The painting of Anna Maria Li Gotti is part of an aesthetic and cultural process with original characters, which suggest the maturation of an important turning point: art is no longer a chromatic representation of reality as in the era of impressionism, nor much less description of the needs of large clients as in the long centuries of the classical tradition.On the contrary, it is the interpretation of life as a problem, and therefore, a philosophical as well as an aesthetic starting point. Far from the instant on iterative schemes that are a recurring practice of too many artistic gimmicks, as if the expressive message could be trivialized like any promotional "spot". The research of this painter of Friulian origin and resident in Conegliano Veneto, in whose language there is no shortage of ideas changed by a decisive Venetian artistic training of the last thirty years. The works of Anna Maria Li Gotti highlight the perennial antithesis between spirituality and immanence, the rational and the emotional, the eternal and the transient, without indicating answers, necessarily dogmatic, but asking a series of questions on the meaning of life and on human destiny. There is an interpretation that seems to bring out the contradictions of the soul, if not even of the psyche, in all their drama: for example, sketches, fragments of faces in the presence of an essentialized sunset that evoke thoughts and fears of the unknown. , but also of suggestive contemplation of the infinite. Other more admittedly clear compositions that symbolize the ancient conflict between spirit and matter, showing a clean and precise mastery of the technique, but underlining a painful meditation on the picture, even before its realization, confirming, in fact, an artistic and human sensitivity undoubtedly original. Contemporary painting, having lost the prescriptive characteristics of the client coming from mechanism, even the more recent ones of reproduction, as supplanted by photography, seems to turn to non-stereotypical interpreters, to muddy the depths of the soul, and that of Anna Maria Li Gotti is a precise demonstration of what has been assumed. It probably contains the propensity to satisfy personal needs, which on the other hand are now widespread, and tend to be universal, as Robert Hughes underlined in the conclusions of his study on modern art. It is logical that Li Gotti, using color with familiarity, tends to propose works that can be appreciated by all, and this if nothing else, according to the classic canons of aesthetics. However, this is not, however essential parameters, the basic point of her pictorial language what defines its originality. rather, the expression of a cultural, or rather philosophical, need typical of every human potential, but increasingly forced, in the contemporary world, by a type of life that leaves marginal spaces for art, and before that, for the ability to questioning ourselves about the destinies of man".

- Valeriano Lazzari

Professor Gianni Dunil

Professor Luca Filipponi

Anna Francesca Biondolillo

Anna Soricaro

Francesca Gallo

Margherita Biondo

Anonimo Siciliano

Pier Francesco Listri

Franca Morandi

Giancarlo Girardini

Giorgio Pennazzato

"His painting struck me because it touches the most intimate and secret chords of the person, has a very particular palette of colors, leads the observer to reflection and meditation".

Valeriano Lazzari

Criticism

Criticism

Contatti

Contacts