|Fabiana Yvonne Lugli Martinez is an Italian
painter who, at only 27 years old, is one of the most
recent and interesting heirs of historic Surrealism.
She was born in Lima in 1973, of a Peruvian mother and
a father of Austrian origins; this simple accident of
birth is in itself stimulating for its symbolic implications.
She graduated from “I Liceo Artistico” in
Roma and then she studied at “Accademia di Belle
Arti” in Roma, where she developed the unique
technique that we see and appreciate today.
Since 1995, Fabiana has exhibited her work in Roma,
Milano, Palermo, Porto Rotondo, Modena, Rimini, Vicenza,
Berlin and now in New York. Her work has been acquired
by the Vatican City where she was working for “Il
Centro Spirituale dello Spirito Santo”.
In her dreamlike visions, the artist introduces us
to a “new world” where the physical and
the spiritual interpenetrate alchemically. In these
works of a rare beauty, dream becomes concrete narration
thanks to the interrelation of the two elements.
The poetic force and strong, unusual presence of messages
in Martinez’ work are without equal. The fascination
of her narration of a single dream through infinite
images, derives from the artist’ gift of being
able to restore a sense of magic to her “divination”.
The artist leads the visitor along poetic pathways.
Each of her “landscapes” is that of a dreamer
and every one of her figural compositions is an enigma
with different levels of interpretation. One has to
approach her paintings with humility, treading softly
so as not to awaken the invisible souls sleeping among
the flowers and the gigantic leaves.
The ascendancy of this artist and the power of her
palette clearly do not derive from Dada‘s nihilism,
but rather from the love of the invisible that becomes
visible through the surreal dream of Max Ernst and
Yves Tanguy. As in these historic masters of the Movement,
so in Martinez’ work are there explosions of
colour, form and a gentle yet aggressive fluidity of
pure tones, applied to the canvas with superb mastery.
The paintings, or rather the dreams, of Martinez are
strong and refined pages of a diary on canvas, endowed
with a natural beauty and elegance; beautiful and elegant
are her huge insects, her mysterious flowers, her crystals
and distant fiery skies.
One is convinced that Martinez is both a participant
in and an onlooker of her pictures.
The material of dreams is thus reworked by Martinez
with the formal elegance of an artistic culture that
has been perfectly acquired. However, in perfect reciprocity,
the nature of her dreams, their roots steeped in her
own cultural ubiquity, are also able to skilfully reinterpret
the experience gleaned from the well-established galleries
Turin, February 2000