A black and blue(s) rhapsody

Only two colours dominate our view, filling the places we lay our eyes on, with surgical exactness. This same couple permeates the melodies, so called black and blue, voicing the obscure treasure of an enchanting melancholy. It is indispensable for making it clear that beauty really belongs to our world?

The colour of the rainbow, so pretty in the sky Are also on the faces of people going by Louis Armstrong, What a Wonderful World, 1968 Luisa Raffaelli presents a series of unpublished pictures dominated by the presence of black ? which is both the sum of all colours and the absence of light - and blue, verging on the depth of the sky and the wet abyss. Using blue "a colour made by grey" in any shade, represents a departure from the "satisfied quietness" to plunge into the search for a supersensible dimension. «Melancholy is inborn to Man's conscience " the artist states" it is a dimension of their consciousness and their research. Therefore it is an essential element because, as Aristotle used to say, it enables us to better understand our world. » Luisa Raffaelli does not give us images veiled by a uniform toning. Her visions require a perfectly balanced colour matching; they require enlarging the range of expressions conveyed by the form.

The central character of the narration is Marta. She seems to live her life through a ontinuous movement which leads the mind to a strenuous escape, more existential than physical.
Marta is running. The matching of the colours remind us of the sad notes of an intense blues, which accompanies her through gloomy places with perfect and standardized cement walls: a setting which is like a box of chocolates wrapped in tinfoil, ready to be soon unpacked, betraying a certain decadence?

Sometimes Marta stops for a moment, and her thin silhouette, with the fashionable clothes, is on the alert. Marta is a conjectural woman; but actually she is more real than flesh and blood people.
She is plural and monolabyrinthine just like Anna Livia Plurabelle by Joyce, who is aware of the social mutation noticeable in the synthesis between simultaneity and virtuality.

A synthesis evolved till upsetting self-perception. Marta takes us through a film narration, just like the character of a videogame who faces the different levels, going across severalsettings and dangers. She is a present- day woman and she represents "every woman", escaping from a thousand places she cannot recognize as belonging to her memory. She does not accept any paroxysm. At the same time, however, through her clothes she declares she doesn?t refuse any a priori superstructure, affirming she belongs to a modern and independent kind of intelligence, rather than to an outdated feminism. Her hairstyle, deliberately red, like the liberating flames which reduce the legendary Phoenix to ashes, represents a sort of thick curtain, a trench, a diaphragm, which hiding her face ? and her eyes- protects her identity, making the transfer between the observer and the observed easier. She represents life under a virtual and unbearable condition, where the need to escape is clear. A world that often confines her in virtual and "claustrophobic" boxes, similar to jammed lifts. She wields the sources of light as a weapon, signifying an ancient concept: the furious intelligence which bursts out for survival and which is metaphorically represented by a light.

The post-modern setting by Luisa Raffaelli originates from the perception of the city, a place that can be described by a series of negations, with great semantic incisiveness: a non-relational, non- symbolic and atemporal place, derived from the unconscious need for contemporaneity.

Viviana Siviero, A black and blue(s) rhapsody>


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