Aesthetics is an essential part of Art. It's from this basic point that the painter lets the thread of her praises come out; her magic pentagram, a diamond of balances, which reflect the volumes (included in Creation) in order to conform them to stylistic criteria. Here comes the poem, which is ethereal, surrealistically impalpable, with densities of a light blue, and of a sweet pink and emerald like memories, flying and sailing on the tide like a ritual of emotions. Everything spreads out in triangles of light, kites and spheres hanging in the infinity like living cells. It seems the painter has to sustain these cells' secret songs and dances, in a dreaming landscape and in chromatic density whose transparency hints at the faculties of soul which interfere –between immanence and transcendence- and generate the basis on which the thought creates the enchanting plan in a stylistic singleness.
Then everything evolves in an admirable metamorphosis that lets a dream change into a plan and that refines, reduces widens and spreads it. Depending on the kind of work, it lets everything pervade with The Whole like a body in the sun, so that the initial plan becomes a dance of colours, a wing that hovers with bright effects, with ribbons and suns, in an indefinable planetarium which includes the energy of centuries and hands it on through many convergences, like internal connections that break the absurd and spread the wit. Beatrice Palazzetti shows her soul, and it is from her soul that the root explodes and goes forward sublimating the work.
Secret and evolving means do not damage the plot: she describes normal habits making them become a triumphant element, by painting either metallic bars and mysterious leaves, both widened and set up for the great extent that contains and unfolds them, like guards at dawn.
The creative impulse generates the soil with all its secrets. The soil reveals how real things are the essence: the sprouts, the flora and the geometric fragments compose an original and loving mosaic. Art is a genetic matter in Palazzetti. She is brilliant in xylography where she uses her own method; cosmic and space elements, symmetry and dynamic shapes, textures, structures and journeys towards the light form an admirable whole which is dug in matter and exalted through her natural skill. This kind of art, with its deepness, is key to universe: it opens up the secrets of knowledge and spreads its values. It does not underestimate anything: it explores and forms the unbreakable relation between colour and shape; it explains the meaning of this connection with extreme perfections, making the cell precious and transforming it in sun or nectar's drop.
The vigour of Palazzetti is both message and ecstasy, both completion and praise, as well as familiar recall; and it is her method that extinguishes the nag in order to make everything explode in admirable support.
The dimension takes shape and hovers: the supports vanish and the transparencies (unmistakable rite) mould the miracle of love, together with the order from which the figures emerge in dynamic and transcendent speed. Then the layouts of the soul (whose power is life) are clearly delineated, and the sequences and the paintings make a deep impact in mind like sound-waves, because they rise from mind and reflect themselves in us; they are portents of an union.
Maria Teresa Palitta
Journalist and Art critic

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