Heidi Fosli

Heidi Fosli

By Costanzo Costantini (show Italian original)

Looking at the pictures of Heidi Fosli what is striking is the mastery of the space, the compositional structure, the singularity of certain colors, elements that make her woman-artist the deep existential anxieties and intellectual issues rather complex- an engag�e painter, although this adjective is out of use, it is out of use of the name of the philosopher, Jean-Paul Sartre, who in the immediate postwar years, first with the famous Presentation of "Modern Times", then with the essay "What is literature?" Threw the theory of engagement, which was to arouse much controversy among the left, and not just of left, also because the engagement was confused with socialist realism, with whom it had very little to do. The intellectuals people who rejected this confusion preferred of the adjective committed the adjective on board, derived by Pascal and also used by Camus.

Nowadays it is not permissible to use the adjective committed but it is better to say "Involved in social issues." Truly this formula in art, in culturalized Europe, so to speak, it is little used, but it would be improper to use it for the painter Heidi Fosli, who comes from Norway and exhibit for the first time in the Italian capital. In her works 2002 - 2012 it recur in fact the words or phrases "Bridges-Roads-Infrastructures within our society- Dynamism-People who connect-Culture who connect-Globalisation ", a phrase unusual in Italy, although we have no shortage of artists who deal with social problems. In addition, she asks questions that do not properly belong to the artistic field, but rather to philosophy, sociology and politics. Just to mention a few: "It 's so we approach each other or We reject each other?"; We are getting closer to each other or are we losing touch? " "Freedom of speech. We are becoming Confortably numb? Moreover, in her vocabulary there are two words of crucial relevance, such as "Democracy Injustice." and the phrase "Reflections Unresolved Mysteries", which is pure philosophy, but also encompasses science, religion, theology, the knowledge as a whole ...But the main thing is that Heidi Fosli not answer these questions with the words, but with the pictures.., of the artist, with paintings which reveal great technical mastery, full knowledge of the tools, knowledge in the selection and combination of colors, possession of the symbolic space in which the miracle of artistic creation become.

Heidi Fosli could be called a conceptual artist, whether on the artistic was, in itself, by its nature a conceptual activity, as we read in the Leonardo Treaty of Painting: "What is in the universe in its essence, presence or imagination, the painter has it first in the mind and then in the hands. " She is born in 1961 in Sandefjord, Heidi Fosli studied theater and art in San Francisco, but her culture remains the core Norwegian or National (she graduated in psychology from the University of Oslo). She is a daughter of Ibsen and Munch, of Ibsen by Doll's House and of Hedda Gabler and of Munch by Little Girl sick. From the first she drew the concept of autonomy woman's personal, from the second, more than the passion for painting, the interest in social problems. Although destroyed by the death of his mother's sister Sophie, the author of �Scream� did not failed to pay attention to the problems of the workers and industry. It 'also known that in Norway, as well as in Sweden, the feminist movement has been more successful than others countries of the continent.

Heidi Fosli may be cited as example for Italian painters and sculptresses, who do not have never claimed their rights in the field of artistic power, Futurism counted few names of women, the group "Form I" only one name, (Carla Accardi), the School of Popolo Square only one name (Giosetta Fioroni), the New Roman School no more than four or five names Neither the history of art in general provides examples of the most comforting. In his Naturalis Historia Plinio quoted only six names of women, Vasari in his Lives of the most excellent architects, sculptors and painters ten ..

Heidi Fosli engages also the art of portrait art, art seemingly easy, actually very difficult. As is well-known, Leon Battista Alberti said that the painting was created by Narciso who was reflected at the source: "I am among friends used to say that the inventor of painting he was that Narcissus who, according to the opinion of the poets, was turned into a flower. So that being the flower painting of all arts, the whole story of Narcissus is then to accord to this matter. For what else is painting with that embrace art that the surface of the source? ".

In other words, the painting would be born as a self-portrait, or as a self-portrait and portrait as: a self-portrait is always a portrait, as a portrait is, in varying degrees, a self-portrait, because the portrait instilled in it herself, consciously or unconsciously, something of herself, as it seems to say already Michelangelo. It said Maurice Denis in 1980: "The subject of the painter is him ... all art is in rappresentar theirselves "Regarding the similarity between portraited and portrait, it can be illuminating the episode Picasso-Gertrudex Stein. "But not like me," she had said the writer, even though she was forced to pose for ninety times, "Over time the look like," he had replied the Spanish Master. Savinio argued that it is not the picture that should look like the portrait subject, but the subject at the portrait, as the portrait is a free interpretation of portraitist. Of particular interest in the art of the portrait interview took place in Palermo between Sofonisba Anguissola and Van Dyck.

- Sofonisba Anguissola: "So, you come from the lowlands of Flanders"
- Van Dyck: "Yes, my lady, and my name is Anton Van Dyck. Vicere Emanuele Filiberto ordered me a portrait and I came to serve him in this Palermo white light "
- Sofonisba Anguissola: "So you also measured to the complex art of the portrait, a difficult balance between truth and flattery"
- Van Dyck:" Not for you that you are a teacher for all of us and you have learned all the secrets to the court of Spain"
- rSofonisba Anguissola:" Oh, do not think that fourteen years are sufficient to penetrate a label designed to conceal the natural with the maximum degree of artifice.

Heidi Fosli- Imaginary bridges for a better future

By Floriana Tondinelli (show Italian translation)

The rise in the Norwegian and international art scene of Heidi Fosli begins in 2006, when the artist decided to begin to exhibit her works. A choice for just gained after a deep artistic and fed knowledge. The field of learning and discovery for the artist are the many trips around the world, allowing them to see the people, the places, the atmosphere through the eyes of a painter and not just as a mere spectator.

These experiences form Heidi Fosli strongly, growing in her feelings of hope and sharing for social problems among the various cultures, integration, defense of human rights. The humanist aspect in the representation of individuals never abandons the work of the artist rather as your main theme. Works such as "Socialization" or "Democracy" to better understand the feelings of the artist. The symbols used by Heidi Fosli also belong to the art-historical memory, the one of the lesson of Eduard Munch, Norwegian artist and greatest exponent of existentialism, in particular we remember "'Scream" by Munch's emblematic work. Heidi Fosli is in its being a contemporary painter a feel that old, belonging to one of the greatest masters of art history. Heidi Fosli in her work does a transformation, bringing people, the individual a condition of isolation, but with the hope of integration and evolution in the principles of democracy for a better world where the individual is finally free. Other recurring symbol is that of the bridge, an imaginary bridge that crosses the countries, exceeds differences, uplifts the spirit and the soul towards a better world, works like "Stairway to Heaven", best interpret this feeling. The colors used are blue, gray, light blue almost all rendered in a monochrome, atmospheres, which so reminiscent of the colors of the Norwegian landscape, fjords, blue sea. Colors become a cloud of tissue that persists throughout the work.

This contemporary Norwegian spirit has made known this artist among the most interesting in the current scene, all over the world. From Tel Aviv to Rome, where it was held at the Galleria Tondinelli an important exhibition, which was attended by leading representatives of both Italian and international aristocracy and diplomacy.

The themes represented by Heidi Fosli in her paintings belong to us can be shared since they represent the current problems of many countries in the world and of many generations. And if art like this is, it�s a time of reflection or raises issues common then the role of art is more 'than ever, and artists like Heidi Fosli who can give us these emotions are more' than ever encouraged and appreciated.

In Heidi Fosli the truth of the work of art is a concept which reflects and fits perfectly with the spirit of the artist, with deep and honest values that reflected in her works with present views.