First published: Winter 2021/22
Everything begins in the morning. After breakfast. A time for relaxation. Still close enough to nighttime, so that day-to-day reality has not yet crushed the forming of the fragile image carried-out in the invisible. Marilena Pelosi gets hold of a Bristol sheet, and a pencil or ballpoint pen, and traces out a frame, with a sure gesture, slightly undulating, like a shadow in the moonlight. It is a ritual. Similar to an internal unframing.
Untitled, Marilena Pelosi, 2020, ballpoint pen on A5 paper
“I am in front of a blank page. I have a vague idea to start off with, then it comes slowly and the elements assert themselves. There is no intellectual thinking. It is another way of functioning,” Pelosi says.
In the meantime, impervious, dauntless creatures have appeared. A world in which everything is intricately connected, mutating, confronting. To the flows gushing from all sides, from all pores, all orifices, responds Pelosi’s fine, transparent line. Assertiveness of the form, contradicted by a rage of intention.
Untitled, Marilena Pelosi, 2017, ballpoint pen on A5 paper
Ambivalent or downright suggestive situations, bonds, shackles, entanglements, more or less appetising fluids, and a forest of symbols to interpret. What to make of this eroticised, deviant, cruel, phantasmagorical and dreamlike world? This state of swaying between terror and pleasure, subversion and normality, leaves the viewer with no immediate solution.
by MATTHIEU PERONNET
This is an article extract; read the full article in Raw Vision #109
