Giovanna Lentini chases, grabs, introjects and transfers any possible fusion between the animistic spirit and the perfect manifestation of the Being as such by the imaginative visions of her speculating eyes - the experiential part of a body. Like a pilot of extreme paraglider , now Lentini flies in the clear sky of her deep physical chromaticism to land where mind escapes any control, crossing the vibrational frequencies of the spirit of love which flows through the heart. Lentini does not represent images, she transfers them; Lentini does not give color to the transferred reality, but she projects her "Unique " reality as a film of the mind. She does not express Art , she is the content itself of art, indeed ... a melting pot of emotions, passions , feelings and pictorial aphorisms getting life from their continuous rebirthing .
Her birth, her life pathway, her actions and emotions, her ties of freedom with the world, live in her unbiased, integral and apodictic “viewpoint“:it is not just sight, it is hearing, tasting and touching, a way for the soul to prove, only to itself, that it already knows anything, anything about life, anything about death and any miraculous image of earthly existence. That is only in this way, it can lead the body, from astral abstraction to daily human responsability. A pathway of life that is "Es". consciousness, science, and thus knowledge of the correct path to the divine enlightening. "Giovanna Lentini is like an arrow sapiently shot by the archer to a goal which is that sense of life, we usually call “common” but we want it extraordinary."
Born from the perfect combination of a mechanical device, camera, and the intervention of thin strokes of paint, the series of works proposed by Joanne Lentini, Zichittella in the cafeteria, which is much closer, to taste and atmosphere, the literary café described by Steiner, original points of exchange for a noble idea of ??Europe, is a tribute to the black gold to us more familiar and less hostile coffee. Its analytical work is not social or historical research, even if the eye flickering, like a cat that is not afraid of the dark, it tends to illuminate new and less formal spaces. Where is wavering in capturing a particular moment, you ensure the fidelity of reality, so that the chemical-mechanical process of photography, fine since the famous Nadar, neither adds to nor detracts from the nature of things. Convinced of this neutrality, Lentini gives the stock in a subsidiary, if beyond the pale powder derived from coffee beans does with his brush to outline contours, gradients, rarefactions. Not satisfied, in essence, a certified copy of the reproduction of reality, rather wants groped a pulse and current personal interpretation. Among random, weird, a little 'for fun, driven dynamics of the handle in an instinctive gesture, and the shapeless magma congealed, spread his interpretative approach without pressure: softly and alone in a studio, meanwhile, has become a toy library , to sketch images from arbitrary and identity traits relief. The whole creative process brings us back, then, to a condition of the soul - the age of innocence - in which dreams and reality intertwine freely, while the boundaries between consciousness and spontaneity to the uncertain drift. The careful observer, as the casual visitor, will not fail to question the importance, on the ground of these works so little ritualistic, and also out of the usual exhibition contexts. The question one can easily draw the protean Picasso studied so that the sketches and drawings of children by publishing them, not giving up the confession that when he could draw like Raphael the divine, while "I have spent a lifetime trying to draw as a child. "
The poetics of expressionism, perhaps the most fruitful and especially the more substantial from the thematic point of view, between the avant-gardes of the twentieth century, had two faces: parallel and dichotomous. A solar in nature, characteristically expressed by painters Fauves (Matisse, de Vlaminck, Marquet, Derain), the other from the introspective and dramatic features, acquired by the artists of Die Brücke (Heck, Nolde, Muller, Kirchner). In the first, the color is hot button (red, yellow, ocher), the second is dark, dissonant (bleus, greens, blacks), a reflection of a worldview tragic and painful. The Sicilian painter Joan Lentini seems to be fought by these two polar cores. His oils: "Landscapes and Interiors", sometimes peopled with figures and sketchy as emerging from the tissue fluid and compact color, have a double meaning denotation and connotation. They expand and burning fever in a symphony of the senses, in Nature plunge, drinks, eat ... Or here and panic takes over a vision of things, darken, you soak the metal flashing in a cruelty that remains excavated in the same field, thus, chipped, wound from the blades of a suffering that everyone and everything in common. And while thus, the silhouettes of figures seem to swim in the magma of joie de vivre, enjoying almost rhapsodic in being devoured by the teeth of the light, appear similar to other tracks of motionless loneliness and heartbreak, coagulated in the layers of an ancestral pain.
Gianni Pré Milan, 1998
Still exists in the art can find its own line of autonomous research because everything has been tested and everything has been investigated? Exists and lies in the capacity for introspection, comes from being able to watch their dreams, tell their stories, make pictures for their fears. It is obviously a way to translate the ideas of value to the result and determines the quality. And for quality of ideas in painting, is the ability of the transfiguration of their feelings that are so compelling that it becomes an open window on the desires, the nostalgia and joy. To say then painting of Joan Lentini I refer particularly to his paintings on the water are the most recent works and even more worry-free content. The light that pervades them is strong and secure. The liquid element is sinuous and winding, causes the surface of the painting goes beyond the limits and giving life to the freshest and successful works. The ability to resolve the feelings through form the matrix back to its Mediterranean and reminds us of patterns and images of pure invention, for his dreams, in fact, its stories, its fears.
Here is an intimate certainty of painting, which is based in an increasingly plastic and incisive on the intertwining of visual impression and a vibrant color distribution of the gestures, without touching the nerve, but the soft brush or oil pastels. There is in these images, always suspended between the informal and memory - or hint - figural, like a slight shade uneasy, the hint of a crumbling, one evaporated. And it is immediately evident, in this sense, an internal quality of composition of Joan Lentini. Something that is given by a kind of vibrancy, rising of the painting, for which the movement of the hand involved in the bone colors to make them crackle and live, to knead the emotion itself that prompted the work. It just sees it as granted in the sense intuition and technique, joined by a feeling that one is freed of his apprenticeship and bitter prelude, now, a language full of humor you might say psychologically fermentation, in which matter is The idea behind really coincide, and where the metric and the stamp are the interior of the excavation, observing curious and sensitive, lyrical feel of slow sedimentation.
Milan in July 2001
There has also affected the work of Joan Lentini, where we took all the sadness, the suffering that it forces a particular human condition, even momentarily, and then an enormous need to escape from the narrow world you live in search of new spaces, endless that you can find by going out, up, on and on, (Out is the title of the work) and we seem to be able to capture a certain modesty in the choice of a word is not Italian as the title. And that arrow is not a missile capable of injuring an indication of the route that will take you farther and farther away from the miseries of this reality, where the body can take many dormant but prancing aspirations.
Marsala, May 2006
Wait, instant, and thickens to a smooth rhythm mix with patches of permanent full-bodied sensuality of this castle underground drifting between crystals and flashing yellow ocher, blue, and outbreaks of white, seems to tell you the conflagration of the sketches of this imaginary journey nomadic and casual which is called "fleeting moments." The echoes, quantum jumps, bounce sketched pathless trails, to dissolve the false hell of temporary organization that imprisons life limits, here, he says, my dancing rivers, including branches and stochastic non-existence of virtual surfaces, have a only geometry: fractal snowflakes and intermittent arrhythmia and un-chaotic amornie combining eternity of contingent forms of leave with references to other atoms of time. Here the lyrical abstract formless impression and expression, perhaps distanced encounter currents of the same name of art, is only a stop that draws on reserves of restlessness in the hot-end de-pleasure.
Marsala, January 2002
The creative dimension of Joan Lentini, in its occur and vanish, devoted to the fluidity and at the same time, in essence, is dictated, in his personal exercise, visualization of space and figure where the scene, the scene of the body, his unequivocal projection, projecting a feeling of absolute shimmer. One of the main concerns of this painter seems to be to assign value to the codification of space, to underscore a perimeter of a surface on which to pour out their emotional content, its stock of knowledge, gained the band of readings, both on side of poetry and painting on the aesthetics. A fullness, sometimes frantic, highly eager to achieve goals, stubborn, almost wearing a frown unrealistic, then, gradually, to lower the lyricism of the duel, or immerse themselves in an elegy not vacuous, as if to represent, constancy, the wandering of bodies, in particular of his body, moods, his essence into a voracious expressionism, always open to the recognition of the everyday. Here, then, in these oils, where regeneration occurs in visual media varied, and where they find the substance, either on canvas or on paper, the emblems of his speech, we are assuming also the style of a proceeding that want to combine abstraction and figuration, a sign and, at times, act or representation, rapid, strong-willed, thus become the protagonists of a kinetic behavior sensitive to the volatility spasm. The speed, the tendency to immediately gain the representative model, the taste of an offer to the size of the decoration, the acquisition of numbers and colors that emanate from the wild, hour by hour affairs, constitute a painting, the coloring, to land in particular, the ocher, temperance of some red-heartedly his spirit, his language. In his pessoani gifts, and to picture in his ascension to the form with certain indices poetic, it is stressed even more, that it would take further away from the simple narrative, the story charming, the iconic mediation in the strict sense. Indeed, Joanne Lentini stretches, especially in this last stage of his painting operation, to overcome geometry and representation, to surrender virtually all stress the fluidity of color, to the precipice of the pigments, so as to enclose all the seeds of sensation, in the quadrant where Time slows down suddenly, where fragments of body shapes tend to annullarrsi each other to disperse, in a large container of souls, limiting perceptions, located on the border of each visibility. This analytical needs its grammar is expressive, in the totality of language, quick, and then again rich in essential germ of efflorescence, where what is received is slowly reworked to burgeon other figures of the intimate (landscapes, figures, objects ) and to grow, then disappear into the ark, or restless existence.
Joanne Lentini, our fellow citizens, is a painter who has managed, with determination and commitment to achieve a size and a reputation nationwide. His early paintings, dating back some 15 years ago, are characterized by a post-expressionist style: sketchy figures, the prevalence of twisted forms and indefinite in a color that, paradoxically, is charged, inherent and obvious. Parallel to his human evolution, the result of a constant search for self-artistic production is geared towards new styles, new forms of communication. And on the other hand, unless it is in the presence of a Mannerist painting and stereotyped, there can be an artistic activity is completely detached from their own lives. Although it is equally true that no work can be considered purely and simply just autobiographical. Each artist Joan Lentini and therefore is "a thief in the lives of others." Therefore any aesthetic creation is always the result of references varied and complex, personal and otherwise. The current production of our artist is definitely geared to extreme stylistic sobriety: the colors are light, soft with a predominance of white. Strokes are hardly mentioned, the hues are infused with oriental reflections to define a kind of conceptual ideogram. This simplicity of style and form, however, hides underlying anxiety. And in fact, the existential and aesthetic balance, for the true artists, it is always an aspiration, an attempt to port but finds it difficult to become a certainty, safe anchorage. And if so would stop the process of research and continuous evolution of artistic activity that is salt. So stylistic sobriety and simplicity, but accompanied by an inadequacy that expresses the complexity and in some ways the indecipherability of our time. In any case it is an artistic production that fails, the apparent minimalism, to interpret, through the mechanism of "diversion" so dear to Italo Calvino, the need for meaning, a kind of "peace" with a lightness that does not is superficial but it is the attempt to eliminate the color through the difficulties and hardship of life. Obviously, the current artistic production reflects the way people listen to Joan Lentini in our time. Therefore it is logical to expect new ideas, new aesthetic guidelines to be followed, as has happened so far, adequate and significant appreciation from the audience and critics of art more careful and rigorous.
Prof. Giacomo Solazzo
Our compatriot was awarded it the prize for originality in the national painting competition sponsored by FIDAPA on "Flowers in Art" award which was held in the city of Livorno last week. Once again, Joanne Lentini with his paintings can attract positive attention and interest of critics and experts who recognize the validity and authority of art. And besides, the painter Marsala, despite having begun the career of only fifteen years old, has a track record compared with many solo exhibitions in Sicily and the rest of Italy which was followed by praise and awards. This is an artist that plays continuously in the field of interior inquiry becomes, therefore, innovative design. After his early paintings are marked by a style that can be described as post-expressionist paintings in recent times of Joan Lentini are geared toward chromaticism soft, light, light shades with oriental touches hinted that refer to a kind of conceptual ideogram . This reflects the vital necessity of a landing, a balance, an existential security and aesthetics, however, can only be unstable and, in any case, the starting point for a new balance to achieve. It 'a painting that, at first glance may seem minimalist, but in the light of a careful reconsideration, apply to pictorial field the concept of "abduction" to achieve a simplicity of form and content, simplicity is not superficial but screening of synthetic and somewhat indecipherable complexity of our time. In this sense, Joanne Lentini, with its paintings, seems to incorporate the lessons of Japanese writer Banana Yoshimoto, whose stories are just seemingly minimalist. At the same time, its stylistic restraint reflects the views of the great writer Italo Calvino that defined morality literary and aesthetic reduction to the use of the word dry and without frills. Of course, as befits the true artists, the current production of Joan Lentini focused on the "abduction" and the restless stylistic simplicity is the way to feel and hear the News of our time. Therefore is to be expected new ideas, new contributions, new aesthetic concepts that will produce paintings that are sure to be accompanied by more and more prestigious awards.
Prof. Giacomo Solazzo
The paintings of Joan Lentini squares, are the most attractive you are proposing in the last appearances of contemporary art, on his way to appear in the sign of lightness, almost evanescent color, based in the encounter of a few tones, which break the 'homogeneity of the white surface, but does not cancel anything, to compel the shadowy soul that breathes, lyrical moments of inner dialogue. Being far from the places of fashion and convenience formalistic, allows an opportunity for reflection not dictated by worries of performance or forced, to which all his works appear free, free of immediate interest and all that, often, makes superficial and forced many works that are on the market. Giovanna Lentini works with a fertile poetic filter that prefaces all his work and the crossing in all its transversality imaginable, making a forum for each work, which is thus included in the bundle of preciousness, so each single event is never arbitrary and free, but necessary, equivalent to an order of discourse, the fact of unspeakable and ineffable, but no less intriguing. The language of painting is made of riddles and allusions, especially when it obeys a prescriptive metaphor but is articulated as the work of light, made of simplicity, synthesis, full of charm, so everyone can see what they want, depending on of its humor and its Apollonian and Dionysian to be available. Feeling close to the developments of abstraction, it generates a great force in her gesture, which lies within a part of herself that relies on the work, its inescapable objectivity, in a visible role in mediating between its imaginary and invisible the rest of us observers . Typically, this is where great masses of predominantly white and other cool colors, so as to create a feeling of emulsion which take a humoral factor tempered, not in the grip of a heroic fury, but a thoughtful and analytical interpretation of the universe signa and almost a foreshadowing of the classical sense, so rare in the post-modern, with an ability to draw scratches, and color metric which respond to a trial, but not obsessive, tending to the original, but not hostile to the genealogy of belonging. There is, in short, the search for a code expression throughout an individual who can grasp the idols of their own psychological view, involving large and small things, through the desires and aversions, as always happens when you try to create order in themselves. From this point of view the technique of expressionism and the values ??of the attractiveness provide a number of potential that can be captured from officinale during the preparation of the work by the artist himself and after its conclusion by our , away from the skin of the work, its visibility, this is more or less intensity starting dall'exitu final impact it can have with the ghost of the world where we belong.
Critical reflection on the work of Joan Lentini, can not leave comments on the personality of this artist with a strong determination that sets it apart, which makes woman of strong feelings, capable of crossing strains of a certain size without deviating from the choice made, with the precise awareness of the price to be paid, because it opens up the system of codes, which decided to enter. At this point, the surfaces of white, crossed by the gesture of its complex pictorial nervousness, you add up as far as the horizon and mark the lines of a transformation that does not appear immediately (to the naked eye) but it shows a careful observation of the plot that tends to escape, to be secret, only to reappear fresh new mazes to track, new ways to savor. There is the experience of a great loneliness, in this painting, which leads to a great dryness, because when you're alone with yourself you go to the essential rights, without being diverted by crooked ways of convenience, not absolutely mean to have a vertical linearity, but follow all the vorticity that are inscribed in experiential psychology of each of us, which is made up of joys, but also trauma and fatal attractions and repellency automatic. This is not true because we know each other well and often the first unknown is ourselves and that we do not cure us without any guarantee of success or no security to fall in the exchange that hovers over us all, in the disguise of seduction as a trail of deception. I can not find a skilful weaving, made of signs which are shaping geometry in a nutshell, as it puts itself in position with respect to questioning his own making, which is never technical and mechanical (even if it is to the end) but the release of an inner strength that objectifies, becoming an elite staff of codification, which has many similarities, but in the end is nothing other than itself, intent on building a mask made essentially of simulation and dissimulation. Giovanna Lentini is an exploration of the deep refrain, referring to a large mirror in which she provides the essential lines, stocks have always bodily traces of tears in a fund, tend to monochrome, which is removed from its state of rest and resulted in full flood storm, shaking forms of diversity in a climate made, in which everything is taken from a virtual mobility, perceptual, of abysmal, nicciana, so sublime and indeterminate fixity.
An artist can choose to look onwards or inwards. Giovanna Lentini has been following the inward track since long; that is why making comments on her work is as arduous as asking to the Sphinx. The Variations collection – both small pictures and the big ones - has to be regarded as an artwork in the artwork where every single theme conveys the transmutation of an inner instant into a pictorial projection according to the alchemic logic of the wounded searcher. It is so that the whole set of “Variation” provides the viewer with a further clue, that of a path. If a formal kinship should be find out, it is maybe the New York School we have to look at, the first authentic American movement able to join German Expressionism with the anti-figurative aesthetic of the other European schools. The subtraction procedure is also linked to the above-mentioned art movement; the image is skeletonized and de-localized by means of a careful control of the space, which is dense, accurate and invariant, not depending on the canvas’ size. But that is just a syntactical kinship. If we want to find an interior key we have to turn to alchemy again and to what Giovanna Lentini loves in her everyday life. For example, Paul Klee whose ceaseless dynamism of shapes and colors has often made his art seem joyful, whereas in fact he wrote: “This man who, unlike divine beings – was born one-winged makes unremitting efforts to fly. The fact that in doing so he breaks his arms and legs does not prevent him from remain loyal to his idea of flying. The contrast between his solemn and monumental attitude and his actual ruin was what I particularly had to remark as the tragicomedy symbol.” (Paul Klee, Diaries 1898 – 1918). If we force “Variations” under the perspective of historical narration we will see the thin and elegant emerging of black and red lines from the big whiteness of canvases progressively switching into the most recent, thick and intense red. The fragile graffito-style lines have thus become the explicit struggle against that peculiar continuum of space-time and memories which – as for art - goes under the name of matter. So, the internal heat of “Variations” is rising and rising; a hazardous and yet necessary disclosure from the artwork in black/white to the sagredo of a foretold revolution. And there is no revolution without victims. “Variations” are thus forced to last forever so unveiling their dark and explosive side; just like the Klee’s Angel which – beyond its appearance – reveals itself as the history’s tragic angel daring to look backwards. Giovanna Lentini’s creative angel performs its “Variations” by looking deeply at the pain roots.
"Change for Change." It is no coincidence, and if it does not exist, that the term "semantic" chosen by John Lentini to represent their "action painting" was this "Changes" that marks, with an incisive grammar release, his paintings of matter an informal expressionism. For a young artist, qual'ella is represented in close dell'informel flavor "Matieu", is formally to be restrictive and that's why Joan comes out with a wicked shot of the wings of an angel of light when c ' dips gently in his white plunges us deep and hard in his passionate red. Its Variations "digitopressorie" are manipulators, rhythmic movements music on different floors, which make up the chromatic harmonies unconscious, but also in all our lives, those "chrome" of knowledge that allow us to move forward, to grow, to change, to acquire the experiences that our body must be able to do if he wants to bring back the memory cell, which knows all, remember that each of our souls, to know everything. Giovanna Lentini lives in the "namu miho renge Chiò" between nature and abstraction divine is a raptor flying eagle but also the innocence of a sensual calla: a glass of unconscious knowledge that matures the taste day after day, on which her lips the rest of his spirit, even inviting us to do so. The virtual nature, the figurative "ghost," the sacredness separated from each body strength, his images are deconstructed and re-projected to us from his world the irrational and unconscious of his grace. It 'not just in quest'assoluta self-knowledge that artistic beauty takes its most pure and essential. I will mention only that Plato said beauty is fleeting and that Goethe wrote in Faust: "Beauty stopped for a moment." I do this to remind you that beauty is only manifested in the phenomena that vanish in a flash. And this evening we invited Joan Lentini. The explosion of a series of flashes of pure spiritual energy of change, but change is essential to every disembodied soul to return to the primary energy core that is fluid and infinite life knowledge. The overwhelming presentation of the eminent scientist Ignazio Licata, wanted to impress with impeccable consistency and cultivated a clue but just as amazing clarity for castrating a lack of acceptance of the "thin". I understand very well, and I agree, the training of the scientist, although creative, can not be summarized in the Autopsy sagittal cuts the incorporation of emotions, and I do not agree, then, with a strict dichotomous view of looking inside and outside the art itself (the ' artist proceeds always and only to the inside because he knows that only then can it come from somewhere) but honestly recognize staff, as it should be the vision of each of us, unsuspecting viewers, ahead of the suffering, the tears, the crisis nerves, the sleepless nights, desperate feeling of helplessness of the artist as any artist who believes only in his own fallibility, imperfection of his own thought, the fleeting nature of a security that continually loses hands with the gesture of painting. The action is the true weapon of choice Giovanna Lentini is the move from awareness of their existence to the imperfect thinking and constantly modified until it reaches the act. His action-painting does not want to be recognized in any comparison of authorship. His artistic cleansing can not be locked into any "schooling" Although, in visions recognizable nuclear or space of the last century. Giovanna Lentini wants only "born again" (and push us to do it for us) after a process of restructuring that animistic with sensitivity, courage and dedication, dedicated, with love, if only. To us, "voyeur" of others' happiness, that remains to be acceptable and non-judgmental, because art is not open to criticism as personal spiritual expression, and is not debatable, nor from the point of composition, or from that exhibition logistics. The Art of Joan Lentini is "pure action" in this too. And the beauty of lightning is essentially all, as in the fleeting glitter of the samurai sword drawn from the first moment of the sublime strike, killing blow. Thus, even in his eyes.