..... And space is made clear, as in a Caravaggio painting, also through specific references to seventeenth-century figurative art, when opposing feelings seemed to add up clash in the representations: memento mori and sensuality, realism and idealism. A Baroque element is the one tent that, from time to time, accompanying the body represented, an element of separation and concealment. The scene is depopulated, it dominates only the man, but it seems to capture more than Olga's body, the attitude, the look, the thought. The natural elements are excluded, left out, to symbolize the now established artificiality of human life. The protagonists are the body with its sensuous and psyche, with its anxieties, its tensions, fears and concerns - not by chance that the figures are doubled.
.... Aggression, closure, sensuality accompany you to cut and measure the shape, all'esplicatività of gesture, gaze direction, until it does not sink in some examples, and introspection in breaking into the body collected and contained in the defense.
......... The body presents itself in all its solid consistency, especially in oil, it clearly articulates the space, it stands out and cut out against the cold and real estate funds. The movement is almost entirely absent here and there, only a breath moves the curtains and ropes (the air of freedom from the outside world and a vital presence in dead space?). The strong contrast of hot and cold - usually red and green - accentuates the silent drama that takes place in the scene. And the catharsis of the drama seems to exist, because the sense of loneliness and defeat remains and solidifies, not at all mitigated by the presence of sensual references. (... See site www.olgadegasperis.it)
Cleto Eleuterio Baptist
