Pietra Barrasso
Artista contemporanea, Personalità europea per Arte.

Luce
Luce
Vibrazioni
Vibrazioni
Riflessi indefiniti
Riflessi indefiniti
The music
The music
Dreams
Dreams
1967
1967
Vortice di luce
Vortice di luce
Cromie di luce
Cromie di luce
Trasperenze
Trasperenze
Figure ancestrali
Figure ancestrali
Tempesta nel mediterraneo
Tempesta nel mediterraneo
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Pierina BARRASSO,

in arte Pietra International Artist, she was born in 1963 in Venticano (Avellino). She is specializing in Graphic Design and Photography, She attended the Academy of Fine Arts of Naples, specialization in painting. She began her career very young always receiving critical acclaim, audience and acclaim from important personalities. She’s been Master Antonio Corpora’s disciple, she knows and attends historicized contemporary Master and World Celebrities who have made the history of the TWENTIETH CENTURY, from Papa Giovanni Paolo II, to Robert Carroll, from Orpheus to DRUMS Eernesto Treccani, from Aligi Sassu to Antonio Corpora, from Mario Verdone to Angelo Branduardi, from Nicola Piovani to Vittorioo Sgarbi, from Roberto Murolo to Roberto Benigni, from Lina Wertmuller to Willy Pasini etc. She has performed for the very important work of Typography Columbus Chamber of Deputies, Braille Code from the curtain of Montecitorio. She has made cover for graphics of LEEP RECORDS CD “Pronto Mosca – Pronto Washington” She collaborates with Gangemi Editore for the realization of “Colore e Pietra”’s series. She concernes about graphic and layout of “Idea” magazine. She works at Modern and Contemporary Art’s Gallery (today it’s called Macro), Borghese Gallery’s Museum, Braschi Museum and at Rome’s Museum in Trastevere. She engages with AMRF ITALIA ONLUS - AUCTION HOUSE BABUINO - ROME She is versatile artist . She's a sign of success in the contemporary art scene. She’s selected by the Art Critic VITIORIO SGARBI for the 54th BIENNIAL : INTERNATIONAL ART of VENICE - ITALY Pavilion - Viterbo 2011 She’s been choose by Prof. Giulia SILLATO for join at “Metaformismo”, and she take a part at collective exhibitions about “L’Arte Contemporanea nelle antiche Dimore”.

 

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Giulia Sillato

Fondazione Giulia Sillato

 
     
Giulia Sillato

 

 

When I saw the works by Pietra Barrasso for the first time I understood, without having any scientific proof, that behind that detailed meticulous folding of mortar mixed together with pigments, there was hidden, not just a swift and certain hand, but also a complete artistic vision, an idea of art that, evidently, she has been able to follow in the past and express herself by exploiting ancient knowledge and ability.

I had the sensation that these continual shoots of radiant colour worked over with the palette knife, known as "rays of light", were like the  

final expression of a deeply-rooted tradition that has been progressively sublimated in the pure conceptuality of light.

I only had a confirmation of this recently, when the artist showed me, asking for my opinion, an oil on canvas that she had painted in 2000: a splendid Madonna in trono con angeli, worthy of the best painters of the fifteenth century...a  kind  of painting that she has since gone beyond to arrive, over time, at an Informal style. However, beneath this Informalism there lies an exceptional sculptural-painterly formalism; we can intuit a first-class academic preparation, one that loves chalks, charcoal, and casts of statues, one that teaches pupils the history of art, and one that promotes only those who have passed the test of learning.

When Picasso, having been the star pupil at the Barcelona art college, transformed himself in just a couple of decades into the detonator of human bodies and faces in the spirit of the anti-figurative, progressive stimuli that Paris, at the start of the twentieth century, impressed on the artists living there, he had taken the same step that, perhaps even in a shorter time, the artists of today might achieve...

There is a suspicion of déjà vu. Personally, I do not believe that we can speak of processes we have already experienced or artistic practices we have already seen, because all twentieth century art has been nourished by various and different sources, each of which with its own autonomous reason for existing, even in relationship to historical cycles which, as is well known, can be repeated without any damage to the originality of proposals which are simply being renewed.

When an artist such as Pietra Barrasso manages to speak in the language of yesterday (by respecting classical icons) and the language of today (by shifting from a classicist position to a new one founded only on chromatic brilliance), she is not someone who insists on following a rigid path - one, by the way, that nobody has decreed an end to - but on following a creative aim that can plough the waves of time.

The unquantifiable and unpredictable processes of transforming an academic model into a non-figurative expression are the central theme of her art: she has arrived at the conclusion that this process does not have a precise end and that it could continue on to infinity, unless by ending the existence of painting...

I can state with certainty that this Roman artist's current works exactly correspond to the altarpiece she once showed me, and for these reasons: the composition of the various surfaces plays with radial effects which, obtained from colour-material mixtures broken up into textures, do not ignore the antique rules of composition.

Even though perspective does not exist in the sense of graphic reproduction, it all the same imposes a traditional idea of the distribution of parts: these have a speedy movement, at time horizontal, at others vertical or diagonal, thus re-establishing in some way the visual dynamic of Italian Futurist painting.

The colour choices constantly answer to an interior order that insists on modulated ranges of blue, rather than red or green, and in her arrangement of tonal relationships the painter uses all her skill to establish the precise role and functions between complementary colours.

So space becomes a polychrome illusion... it is no longer a representation but a mental projection, exactly as are the spaces of our contemporaneity. In the art of other times the logic of visual deception was hidden by the ability to reproduce what was not there; but modern society, which has no need of reproduced spaces since it continually interacts with multimedia means, searches for another kind of deception, that offered by a painting that everywhere emanates colour and sensations, colour and emotions, colour and light...

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Giuseppe Selvaggi

 
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Pietra Barrasso and Modern Collecting

     
 In modern painting, marked by the generations that closed the twentieth century and open, in the bloom of youth, the twenty-first century, Pietra Barrasso is among the few who have breathed in rhythm with the new and future times. She arrived at painting with active conviction almost since childhood, but of course schools and life have been useful for reaching a technical perfection such as to allow her to be both absolutely figurative and, when she wants, to be part of the most revolutionary avant-gardes.

Her decision - which was courageous when she set out but is now in line with the orientation of the art world and the relative collecting market – was to arrive at a fusion of painting, always within the magical sphere of poetic feeing and reality, of figurative tradition and the futuristic adventure of the avant-gardes. In each of her canvases with a figurative structure, in fact, it is possible to isolate a detail with the eye, and find oneself on that informal journey that is abstraction in art.

Of all her generation, Pietra Barrasso is among the few Italians who have experienced a relationship – through her journeys and such shows as those in Boston and the “Dante” associations throughout the United States – with international art situations.

“Barrassian” landscape painting  has veins, heartbeats, sighs, and screams in syntony with humanity. As a part of this unity, Barrassa is an artist of great modernity.

 
   

 

 

 

 

 
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Giammarco Puntelli 

 
 Giammarco Puntelli2 
   
Capturing the light 
   

To capture the light that is the soul of the world and the source of our energy has always been the favoured theme of modern and contemporary art.

If art has the capacity to influence our states of mind, then this research is one of the paths that many artists have followed, and others are preparing to do so.

Pietra Barrasso’s cascades and contaminations of light merit attention both for their originality and for their execution.

The artist has arrived at her confrontation with light, always one of the most complicated aspects of art, after a solid experience in painting, and after having faced up to important challenges and won them.

Let’s look at them briefly before returning to her current production, concentrating on two themes resolved with great ability and in which we see the first seeds of the atmospheric light of this period.

First of all the landscape, another traditional approach that the artist tackles, with a sense of light imbuing her brushstrokes and an attention to colour that makes us experience the sense of movement on the canvas. Hers is a landscape that, from a traditional approach, opens up original horizons, starting from those combinations of colour and the management of the composition of the elements from which it is easy to predict their future within the complicated theme of light in art.

Another aspect of her development, one resolved with great ability, is her approach to religious subjects. The luminosity of the form that alludes to the divine light of the images themselves presents the reality of the boundary between the physical and heavenly dimensions, experienced through her research into colour.

Through coherent study and her personal sensitivity she has gathered together the fruit grown from seeds sown in her past series, and she deals with the theme so dear to Turner and Rothko.

And light implies a work on two fronts: the artistic one for colour, and the emotive one for the change that comes about in the viewers after the discovery of the work of art.

The artist is now in her full maturity and, with great originality, she puts on her canvases those floods of light, those luminous cascades that form a bridge between our own spirituality and the environment that surrounds us, one that we begin to discover when we allow it to interact with the “parallel world” that is within each one of us.

 We can see this in “Fascio di luce” and “Stratificazione di luce”, 2011, and in “Rosso tramonto”, 2012.

This is why Pietra Barrasso’s work is such a real and difficult research in the universes of contemporary art, because it brings with it the seeds for changing people’s elementary emotions. Only genuine art manages to undertake this task.

“For miracles it is necessary to pray, for changes it is necessary to work” (Saint Thomas Aquinas).

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Giovanni Faccenda

 
   
 phoca thumb l faccenda
   
 From memorial itineraries to yearned for perspectives 
 

“I do not know what I may appear to the world; 

but to myself I seem to have been only like a boy playing on the seashore, 

and diverting myself in now and then finding

a smoother pebble or a prettier shell than ordinary,  

whilst the great ocean of truth lay all undiscovered before me.”

Isaac Newton

 
   
 

The burning emotional urges that we imagine live in the deepest depths of Pietra Barrasso’s work rise to the surface as spiritual lights called on to clear away the darkness that envelops our increasingly troubled existence in its sinister embrace.

Inebriated by lyrical tremors and emotional disquiet, the painting by this rigorous and inspired artist captures the fascinating challenge of the “unexplored world”: a geography that at times is dreamy, at others invisible but that can be materialised – the right term, given the emblematic relevance of coagulated colour – on a surface that is no longer realistic but completely mental, where there persist, often enclosed in a vertical contrail, luminous sources pervaded by a sense of seductive enchantment.

As light and transparent as flocks of clouds on a sunny day, these recurrent flares – imperious in a layout of colour that brings together the warmest harmonies – seem to allude to memorial itineraries or yearning perspectives or, at least, emotional areas within which Barrasso discovers or rediscovers just how much has always dwelt inside her. So for her, painting becomes a kind of interior excavation that is not always summoned up by the surrounding reality: it is, rather, a wide variety of secret palpitations – so fertile in a mind as sensitive as hers – that push her towards Pindaric flights.

In such visions her meeting with nature has a cathartic taste and value: intoxicating scents of flowers, romantic crepuscular warmth, and the insistent sense of a truth that for some time we have known has been lost, and now we find it again in the heart-rending echo that floats, like an arcane melody, in these fascinating paintings by Barrasso.

Her painting sails over figurative seas or finds harbour in informal havens: it is her very spirit that tells us of trepidations that are only in part calmed by the fertile manifestations of bright, beautifully combined colours. But to dare also means to go beyond the orders of the palette, to search for gradations mixed with essential moods, and to find at last what is a distant spark and make it the flame for a representation overflowing with personal clues.

Deep down, each work completed by Barrasso shows a multitude of fervours and murmurs that are, with respect to her fiery temperament, all specular. On the contrary, you would think that in her varied tones of yellow – fundamental and constant in her work – you can recognise the state of mind that has accompanied the artist in each of her tasks, so much is it clear and perceptible, quite apart from the refinement of her work. Because, as usual, Barrasso paints what she feels within and not what she sees around her, as could easily be the case with us all. She is nourished by the ambrosia of poets and dreamers, the inexhaustible lymph for those who have something important to say or do to those who have not yet stopped listening to the voice of the heart and of feelings.

If it were necessary to sum up the most intimate particularities of her work, with a summary inadequate in the face of such an opulent and fiery temperament, we could say that in Barrasso’s activity there has always been a dense aura of mysterious fascination.  A light that goes beyond dawns and sunsets, places and spaces, a silence that is a necessary meditation and a life, all of it, in its most ancestral areas.

 

 

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