Evidently the activity I practice is far from resembling classical art. The colour plays an important role in my work. It has always been so. However, in recent years my artistic practice has led me towards an absolute attachment to colour, which I approach as the main issue in each painting. Passionate for abstract paintings since the discovering of Bernard Frize's work, this constitutes the greatest influence as well as reference of my work. The flashy and sometimes violent colours of my choice are enhanced at the utmost point to match both my personal reaction and my mood. My work focuses on composition systems and colour. One often encounters circular forms that constantly play on colourful structures. Beyond doubt, the circle plays a favourable role in my paintings. Treating the circular form as if it were the unique letter of my plastic alphabet is based on a personal choice and backed up by a childhood memory: when asked by my instructor, at the age of eleven, as I took my first art lesson to draw a circle, this turned out to be perfect, to Eliza's taste. Consciously or unconsciously I recall her overflowing enthusiasm but also my feeling so proud for having traced a circle, my first circle, a perfect circle. With this childhood experience recorded undoubtedly in my subconscious, ten years later I initiated a series of artistic studies through which I've been pursuing, ever since, the perfect circle. I have very concrete intentions. Through my abstract paintings I explore the range of possibilities of a particular issue, inferring that the painting as a questioning. They offer a world that is simple, unblemished and easy to penetrate. " I thought my work should consist of absolutely simple images, of paintings emerging directly from materials, tools, technics. I decide on a working mode and the painting simply appears as a result of it" .
EXCLUSIVE WORK BY ELENA PRATSI: