Statement and Press
Statement
My work is a game where one reality breaks and a new one is created, where pieces fit harmoniously, like in a personal jigsaw puzzle.
In painting as play I interweave painting, printmaking and collage in a kind of playful tension of abstracted imagery. As a former psychologist, my fascination with the human soul, mind and spirit is expressed on canvas or paper through figures, surface textures and layered colors. Controlled surfaces interact with playful layering of patterns in a personal way to unravel the complexity of the human mind, of relationships, of life. Contrasts are my main languages that I must put into homeostasis. These polar interactions between light and shadows, translucency and opacity, interior and exterior nod to complex moods and mixed emotions. My compositions allude to psychological complexities by the breaking of forms and by disjointed dynamisms in harmonious layers of symbolic elements.
Time is an important concept in my work: lines and forms overlap and repeat conveying motion, memory and remembrance. Figures merge and blend with the background in a high tonal unity as metaphors of transiency and of the ephemeral quality of life, expressing the abysmal idea always present in my mind: our impending finitude. We are passengers in a short but amazing journey.
And while this journey lasts, I play. I play with colors, forms and figures. I play with rhythmical repetitions of lines and patterns.
Press
Featured in CREATE! Magazine
Summer 2021 Edition
Page 099
Page 100
Page 101
Page 102
Alexander Ink Juried Exhibition
Hosted by the SCAD printmaking department, Alexander Ink features work across disciplines incorporating printmaking processes into the creative process.
Reception: Sept. 17, 2021
Now through Saturday, Sept. 25.
Alexander Hall Gallery
668 Indian St.
Savannah, GA, USA
Round Objects Installation
Commissioned by L'Attitude Gallery, in Boston.
Expertos en Arte Magazine
edición Núm 35 - septiembre 2018
Revista WWW.REVISTABAMAG.COM.AR
PALETA DE SENSACIONES
Por: Catalina Pelman
see full BA MAG article >>
Reviews (Selection
For Andrea De Luigi, the still image is a way of capturing many moments. De Luigi paints bodies in movement and scenes from multiple perspectives. Under her brush, a running bull fractures into itself so that its body becomes a collection of half-seen poses, and a rearing horse is shown in three different profile views – all combined into one powerful figure.
In non-action shots, the energy is derived from the many views De Luigi gives us of the same image. She puts a special emphasis on light: the way it streams from different sources, affects the look of a scene, and emotionally affects the viewer. When De Luigi does depict single frames, they are wreathed in these same sharp angles and beams of light, so rich they seem to be solid. These works owe a debt to cubism, but they are not descendants--De Luigi’s style is much more ordered. Agora Gallery | 2017 | New York
When Andrea De Luigi showed me her paintings I was very impressed by her skillful treatment of color. The intense reds, the green and blue tones, the depth of the violets. The vigor of her palette conveys a vital force that is present in all her work. Something very enigmatic and alive, thriving to manifest itself goes beyond the materiality of the canvas. Her landscapes and forests, in which the leading role is assigned to color, transcend the merely anecdotal, and her very particular way of feeling, even of enjoying color, is admirable. Ernesto Sábato | 2001 | Centro Cultural Borges
Andrea De Luigi is undoubtedly an amazing colorist. Drawing is firm, form is clear. Her work is a homage to the fundamental role of color, that is, for many, the essence of visual art. Rafael Squirru | 2001 | Arte al Día
Design and color at their most elaborate delicacy, since prodigious are the visual virtues of this refined artist. Her achievements are comparable to those of her elevated teachers. Her work shows perfect and admirable making and inspiration. César Magrini | 2002 | Galeria Forma
Much more than flowers to look at
Flowers have very often been a favourite subject for artists and, especially, would be artists. Few have succeeded in doing something more than, at best, making a pretty, decorative picture to hang in the living room. Andrea De Luigi certainly doesn't belong to the latter category. Her floral portraits are remarkably vivid, even powerful, dramatically contrasting, sensuous surfaces, saturated hues. They somehow convey their creator's joy of life. She also pictures her subjects from unusual angles, including close-ups, thus achieving remarkable visual effects. She presents her works in triptychs and quadriptychs as well as in the familiar single format. In spite of the stillness of the subject these pictures are strikingly dynamic. The style is unabashedly figurative but free from the constraints of hyperrealism.
And, what's more, these paintings are truly beautiful.
Alfredo Cernadas | 2003 | Buenos Aires Herald
Andrea De Luigi has an excellent plastic education. The strength of her drawings, and the refinement and conceptual clarity of her paintings, come from those great masters. As an art critic with so many years of experience as I am, I congratulate her for the integrity of her work, and the beauty of her expressions. Rosa Faccaro | 2003 | Galeria Forma
�Her works evince an intense and personal creative search. Through her outstanding sensitivity, she delves deep into a universe of her own, fraught with magic and reverie. Arte al Dia Documenta | 2002