Vertical Landscapes or Possible Landscapes
I wrote a score – but I can only hear it when performed by the soul and spirit of someone else
Lou Borghetti’s painting offers the public an experience based on a pictorial genre that apparently said all it could with the masters of the past. She offers us a contemporary experience of landscape, deconstructing its original image into synthetic elements, almost abstractions. We could even say that they are self-landscapes or landscapes of such a broad interior that looking at them is to enter into a world so huge as to be impossible to apprehend.
One key aspect is the issue of depth and surface. Western art imitates the world with the aid of perspective, which allows us to enter the images as if they were real. Lou Borghetti does not accept this intellectualized resource unconditionally. Her painting takes place on the surface of the canvas, occupying it as an oriental would. When she arranges her image on the support she does not aspire to the misleading depth of perspective, preferring the landscape to be manifest on the surface of the canvas.
The paintings allow the eye of the spectator to gaze over economical, schematic forms modeled on children’s drawings. It is unnecessary to stress her unrestraint in using children’s drawings, but we should not fool ourselves: there is no naivety in these drawings, just as there is no naivety in children when they depict the appearance of the world. Children’s drawings show the stages of our growth and our understanding of the world in its essence, and that is perhaps why they are so fascinating to us later as adults. The child’s eye is quick, accurate, with no mistakes.
Lou Borghetti effects a complex equation in which the tradition of the landscape genre and the painting medium are united with the forms migrating from her childlike drawings. It all comes together into a firmly constructed work which offers something new and profoundly stimulating: the capacity for communication, great physical presence and a striking and pertinent discourse, both about pictorial production and about contemporary aesthetic issues. Her solidly constructed painting is a conscious and carefully written score which allows us to perform it with our souls and our spirits.
Paulo Gomes, artist, doctor of Visual Arts – Visual Poetics and lecturer at UniRitter.
Paint on paper
Paint on canvas