“You cannot grasp the interior even with the help of the most powerful lenses. You have to approach it internally, on tiptoe ... "* Being able to reach our interiority or that of those next to us is almost impossible. We can touch it, feel it but not penetrate it deeply. There are inner motions that allow a faint gleam to shine through in the eyes, movements or words. We can use a mirror to peer into our thoughts. But what is there beyond the corporeal, the material? Many thinkers and artists have spent their entire lives searching for this. And perhaps Laura Corre starts from these questions to give life to a cycle of works, portraits and self-portraits, in which what immediately catches the eye is the constant search for the other and beyond oneself. Women portrayed in their intimacy, naked body and psychologically stripped, immersed in domestic environments or portrayed in empty spaces, Laura Corre paints the many facets of the female world, giving it a repertoire full of suggestions and charm. They are not figures that live "for themselves or in themselves", but are the fruit of the elaboration of the memory that moves them and makes them alive. In the construction of the painting nothing appears real: the perspective seems altered, the physical space manipulated, the cuts risky. Everything appears filtered through what much of the twentieth century literature has defined as the “Stream of Consciousness”, that flow of inner consciousness in which thoughts, free to flow, outline emotions, feelings and passions. And it is precisely through this flow of thoughts that Laura Corre makes the imaginary visible.

* Gustav Janouch, Conversations with Kafka. 

Giovanni Masiello for the Galleria La Bottega dell'Angelo, Ostuni. March 20121

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I believe that in the figurative arts, especially in realism, it is possible to recognize the first and most powerful manifestations of human interiority.

In Laura Correggioli's art, feelings, emotions, visions, glimpses of current events are expressed that in an overwhelming way send us messages, symbols, stimuli that activate our mind, our thoughts, our heart.

The human subject, animated in his body and in his gestures, almost always female, is the protagonist of these works where the symbolic language communicates to the observer messages of a time that seems to slip through our hands.

The artist's skill in drawing and pictorial rendering gives these paintings a realism capable of transmitting the human feeling between joys and pains in the incessant passage of time.

In Laura's painting, everything speaks to us about itself in a perspective that goes towards infinity.

Faced with these works, the observer meditates and reflects, immersed in an indefinite space where spatial and temporal references exist, but they seem to have no intrinsic and real value of their own.

The objects are in fact assembled in a context generated by the artist's creative ability. The mind thinks, organizes and re-elaborates ideas, images, sensations and memory creates on things that veil of humanization worthy of anything that has now acquired a soul, it is the very soul of the artist who is transposed onto it. .

Everything speaks to us about itself, it tells us about its path, the hours, the minutes, the seconds that made it grow old and that inevitably brought it closer and closer to man, to the one or to those who used it, that if they used it. These objects, these details, represent small pieces of a large and mysterious puzzle that is none other than our own life, full of doubts, questions to which there is probably no answer, perhaps there are many or perhaps we are not given to know. The questions run through the infinite paths of the human while, in a cyclical condition of time where everything repeats itself, where the past acts as a teacher for those who understand it, where everything has a beginning and an end, where the essence of every thought transposed into art is imbued with immortality, has the strength to never die, also of

enrich one's neighbor, witness of a future humanity, albeit different, but always and in any case characterized by that substratum of phenomena and circumstances that will never cease to exist.

In the darkness of this mystery of ours there is light and in Laura's works it comes from afar to caress things, objects, to kiss nature, the fertile earth and make the waters of the springs shine, illuminating the essence of things.

The observer is led up to the discovery of the beyond, of that revelation that during our journey of life seems to break into our soul without even asking for permission.

An art that does not necessarily propose the search for answers, but the emergence of questions, questions, in order to give meaning to

our short existence, questions that will never end, to which man cannot fail to take them into consideration. An infinite art, because its interpretations and interpretations are infinite.

Man is made of his past, a legacy that seeks to be useful to the dark future that peeps out.

So what is the present?

What is man? What is the sense of being, of what surrounds us, of what we savor and experience every day?

In the profound observation of these works, our senses are immersed in an assembly of ideas where each of them is testimony of an existence, of a lived experience. An art that invites us not to allow ourselves to be conditioned by the static nature of objects since they live and accompany man along his path of life. Paintings imbued with the human presence, are characterized by it since it is itself living inside everything, every detail, every detail.

The human presence is also you observer who immerse your soul in these spaces always characterized by a path, a road, a direction. But what's yours? Perhaps yours, as well as that of others, turns out to be the sum of every small gesture, choice or non-choice made.

Basically we are the fruit of what exists around us from which we receive, to which we give.

 

Ambra Grieco

Art critic

December 2017