Reviews from the catalogue “A story of light and air”

By Marina De Stasio

Belloni uses traditional oil paints and more impoverished materials such as sand, and old-fashioned materials like the pure pigments used in frescoes. This combination of the rough and the smooth, the shiny and the opaque, gives her landascapes a sense of vibrancy and life.

Vegetaton is depicted in all its exuberance, at the height of summer and in all its festive glory, however nature is not all grace and beauty, it also has a more strident, rough side, The paintings sometimes have two areas of vision, a background which evokes a dreamlike, visceral nature and a foreground which evokes the hard external world, the concrete.

 

By Curzia Ferrari

Antonio Tapies, in this trend to create new forms, seems to me to be the best exponent and Ivana Belloni is a close artistic relation.

Whereas Tapies’ creations seem to  be “paint only”, having their origins in  substance which has been transformed, with a healthy dose of irony, in Belloni’s work passion prevails.

 

 

Reviews from the catalogue “Introducing Ivana”

 

By Stefano Santuari

Accurately methicolous, Ivana gives with her instinctive simplicity a definite evidence of figurative maturity  and constant veerings full of breathing matter  that show a regenerating motion from abstract to concrete a complete going back to the roots of the earth, a serenely erotic embracing of the primary structures of the world, from which she withdraws new ethereal nourishment.

 

By Lia Briganti

Ivana has  created her own style, immediate and elegant that can be visualized in the portrait and in the nude. One of the unifying elements of her art is the “ movement of sign”.

 

By Gian Piero Morlacchi

In these works the novelty is the thickening of the surface, the emerging of a polymorphous matter given by an accurate and original technique study, and a creative association with new materials that she has melted together  avoiding extrinsic juxtaposition as an attempt to seize, as a philosopher very attentive to the painting world would say, the “ flesh of the world” the invisible in the visible.

 

 

Reviews from the catalogue “The mirror and the soul”.

 

By Bruno Crepaz

In the artist’s research, the mirror is not just a simple perspective game that duplicates reality, a craftiness to look at things from different points of view. She asks herself what is most real: external reality or the image of reality itself created by reflection.

Without any doubt the reflected aspect, due to the fact that it is not an exact copy of reality, is much fuller of meaning, worthiness, ideas and possibility not completely expressed. The mirror has become the vehicle of self consciousness of our most hidden aspects.

The colour research has conducted her to structure a perfect synthesis of figure and background where one and the other interact and melt.