Giovanna Magugliani, who seems to concentrate multiple interests around herself, in actual fact starts from one point of reference only, where her artistic creations move from, supported by the various techniques she can manage.
She is a photographer, she can paint and make sculptures, but, with unique coherence, she concentrates the subject of her research on the way how the reality around her can be translated into her personal interpretation of the world. A reality of which she can capture different and indefinite aspects, from the world of cinema, with her actresses (only actresses, never actors, maybe because deeply in love of an extraordinary husband or because somehow influenced by the culture of the Islamic world where she has spent so many years of her life) to the birth of earth, to the fascinating landscaping of the desert, to the portraits seen as an expression of an invisible intimacy, to foreign lands she interprets sometimes with the eyes of Gauguin o Nolde, in a feast of colours, which do not constitute the centre of her work, much more controlled; not to mention her transparencies, which project the reality into a metaphysical dimension, or her sculpture, which, in the white of Carrara marble, describes delicate faces of young girls, wrapped more in their mystery, rather than in a veil; or certain abstract compositions, not for their shape and colours on the canvas, but for the different meanings they hide, the representation of a world affected by the bursting of images which, in their transparency, hide true or pretended values, placed in the infinity, which also the fake collages cannot explain.
Giovanna combines her heritage of ideas and cues, she sometimes uses to represent social thoughts, far away from the mere fact of every day’s life, but aimed to highlight the dignity of women, suffering for a destiny which is heavier than the weights they are carrying, with her long research, which is a pre-requisite for this process, of the best technical tools, capable of translating her thoughts into a graphical expression.
Giovanna is using pastels, graphite, acrylic or oil colours, marbles or the camera, as the case may be, being fully conscious that whatever she is using is an instrument for interpretation and not reproduction of the reality, as some of the impressionists had already understood.
As a matter of fact, after all photography is a reflexive and thoughtful way of painting, far from the urgency expressed by Vincent Van Gogh, who used to dip his existential desperation in his landscapes and an hallucinated consideration of himself and of the others in his portraits, those portraits from which the melancholy for something which is unattainable, like the nice ladies of Arles, or the frustration for being aware of a sad destiny transpire. Yes, Van Gogh is a very good reference point to understand what Giovanna is not.
She is not an impulsive painter, capable of producing hundred works in a month; she is not an instinctive creator, but a thoughtful creator, who does not consider the colour as a target, but as a means to be used with veiled discretion; she is not an artist driven by what she sees, but byher need of interiorizing the external suggestions; she is not hunting the self-satisfaction for the effect of the nice realization, but she is searching the idea, from which both the image and the concept may arise.
ALDO MARIA PERO, President of the “Art Movement of the XXIth Century” and of the “Waltmann Art Publishing Italy”.
Aldo Maria Pero was Modern Art Teacher at the University of Genoa and Italian Art History Visiting Professor at the Sorbone University, Paris, Contemporary Art Teacher at the University of Heidelberg, Visiting Professor at the University of Ann Arbor (Michigan) and Director of the Art History Dept. at the University of Berkeley (California).