The study of Paola Bisio Artist is included , in 2015 , in the publication of Artist Studios , Turin , San Salvario District by Stefania Dassi and Carla Thestor , with the patronage of the Ministry of goods and cultural activities , and regional secretariat the MIBACT for Piedmont
- Fabrizio Bonci and Caterina Scala shows oblivion and signs, Turin, April 2014
Oblivion and signs
In an essay entitled herméneutique des symboles et réflexion philosophique Paul Ricoeur wrote that if our age is that of oblivion hierophanies and the sacred signs and of man’s bewilderment as belonging to the sacred is also one where we are offered the opportunity to refill and re-emptied our language, technical and formalized, rediscovering through the sedimentation of oblivion, of lost horizons. signs of the goddess is the outcome, even provisional, of reflection and artistic research for a decade Paola Bisio leads on prehistoric female symbols inspired by the work of archaeologist and linguist Lithuanian Marija Gimbutas. As is known, studies of Gimbutas offer a perspective on Europe Neolithic alternative to traditional models, reconstructing the picture of an original Continental culture centered on the worship of a divine female principle and extremely different matrifocal companies, in their characteristics and harmony of irenicism , by later patriarchal societies. The Neolithic of Marija Gimbutas, with its central role of women in the sacred vision of life, provides the theoretical Bisio and iconographic dimension to articulate their own personal exploration of a symbolic universe, with its references to the themes of birth and death, growth and natural cycles, is still available to be questioned, and able to question ourselves. Scythes, antlers, fish, snakes, triangles, semi; lunar and uterine figures painted on several materials that over the years the Turin artist has used, from wood to plexiglas to cotton drapes of the last period, establish with our eyes a dialogue that is somewhat Socratic way, asking us recognize something we already know or should know. In a cloth where the prevailing dominance of a light gray, next to the figure of an animal with long curved horns, grows a shrub. The delicate green of the leaves affects us. And ‘that of a paradise lost, buried beneath the dizzying distances and Ashes of Time. The deep echoes the artist has been able to listen in this its exploration, which is quite an introspection, the turning of a modern woman to ancestral inner memories, slowly emerging from his works. Small, soft, ancient streams flowing in our deserts.
- Clara Castaldo of Varese Art, the exhibition at the Municipality of Carnago in Nature and in truth, the exhibition space of the former Church of San Rocco, in September 2013
With this exhibition our area becomes a meeting place between two artists – the Turin Paola Bisio the Milanese painter and sculptor Edi Sanna – that in the course of his career have been active in issues often related, although using different artistic languages. The show revolves around a series of “key” words that identify some common themes which were addressed independently by two artists: archeology, anthropology, symbol, Mother Earth, work, strength and nature.
In the work of Paola Bisio archeology, understood as a reflection on the past and on the texts produced by some authors, has always been a primary source of inspiration. The anthropology and the use of the symbol condemn much of the production by the artist who often uses signs – such as spirals, snakes, chessboards and toroidal shapes – evoking the figure of the primordial woman as the beginning of everything and continues cyclicality. Mother Earth is the first goddess and muse and its physical and abstract manifestations refer the symbolic forms taken by the artist. The theme of the work in Paola Bisio production has both a social meaning is a practical that refers to the intense and constant effort of producing art. The strength to Paola Bisio plugs to large actions by women in the arts, social and intellectual. Finally, nature is present in his works both figuratively both symbolically and evocative
- Ivan Fassio, for Channel Art for the exhibition Metamorphosis Bone, Turin, December 2014, Torino
The bete noire of the fairy tale, to be exorcised and away, is the plot. Identified the fundamental structures of each repetition, the artist will draw, in the image, a parallel reality: released and trigger, tragically separated and shared. The episodic and descriptive character connected with the figure will require, for this type of liberation, the invention of an absolute space, of a pneumatic vacuum in which impose new matching rules.
On stage they will wreck aborted clips from archetypal narratives and dreamlike fragments, surrounded by fertile innovative solutions. Two-way can make possible that excess: the course set by the abstract form – in which the expression of the tensions is revealed and refracts – or the use of a logic of sensation – in which the miracle of perception imposes itself and blends. By skeletal scaffolding existence both modes will suck the sap needed to get dressed again.
The works of Paola Bisio able to walk, at the same time and paradoxically, the two roads. The bodies and organs – from the underlying representation – will mutate incessantly as indications of duration and provisional results: thesis or twisted wires to highlight their inner buttons, bandages block blood streams. The physicality is cultured in the mobile when you are generating, as sparks from ‘bony armor outward: in the truth of the flesh. The energy emerges: the colorful and warm emotion that surrounds and gilds an intimate landscape. The territory is moved by minimum earthquakes, the waters observed by gravel bottom.
As anti-kind artwork and pre-iconic, art passes previously through the senses, to arrive finally at ‘explanation. At the same time, I understood as a continuous literary process, the aesthetic practice ties up the steps of the story and the story interweaves with fresh words. In the cracks, reflected by the starry sky, it will shine the precious metal of desire.
- Roberto Gianinetti, Vercelli, October 2010
What is there in these deposits? What hidden from view? where they come from? Replies impossible for Paola same, perhaps, taken from creative frenzy, forced by inner necessity, goes on in his compositions. But here’s another surprise: the bill that Paul presents to us, forces us to face before leaving the framework: the phrase, the words. Sometimes discreetly, often with almost obsessive tenacity, word, words, invade. We are not only in a land of colors and sensations, thickness and depressions, but in a real battlefield. A battle without weapons, however: Paola is not able, by character, to provide physical harm, material. His pictorial surface becomes time “ethical”, in which a woman, literary quotations, stories, dreams and a thousand other worlds converge and overlap, mingle mingling otherwise. The beloved cat might add that I overlooked the “gesture” creative, the corollary above, the tensions and the doubts that come after … and much more. Then “it is just a thought.”
- Radaelli, “The Day”, Milan, May 31, 2003.
“… Inspired by the sensual and incisive writing of Marguerite Duras the exhibition pictorial ‘Silence and then …’ hosted by the Milan Galleria Bianca Maria Rizzi Via Molino delle Armi 3. To sign the works on display is the Turin Paola Bisio that makes literature the the starting point of his painting. On the canvas Bisio recreates the highly physical images and elusive while that permeate the whole work of the French writer born in Indochina, the current Vietnam: the sea, love, pain, poverty, madness of the mother, body, the flesh … “
M. Salvatico, Turin, June 2002
“… In front of his canvases we are faced to a light that is produced by decantation and crossing of a heavy density and dark, a moment of” black “and remains, as passed, as part of the process fount of light same. … In these works something precipitates, in the sense that this word assumes in chemistry. From a suspension, from a heterogeneous mixture, suddenly, through the action of a catalyst, there appears the strict forms, enigmatic crystals able to play with light. So, in the best works of Paola Bisio, heterogeneous materials seem to find the happiness and ease of a natural occurrence, as their own, the form required to light.