I would like to introduce my artistic thought through the words of an Italian Art Critic
“Astegno, a Magic Realism that Americans really like” by Giovanna Grossato article on Il Giornale di Vicenza , Sunday 4 July 2004
It does exist deep inside many of us another Ego, of eternal youth and purity; it represents all we could and always wished to be.
This Ego we miss and contemplate with tormenting desire is the poetic core of a young artist from Vicenza who is now becoming successfull in the United States. It is in fact in a prestigious gallery of St Louis, the “Third Floor gallery on Washington”, that are currently being exposed some works of Evelyn Astegno, together with other emerging artists such as Craig Downs, Julie Malone and Christopher Gustave.
The group of paintings Evelyn Astegno chose to display in the collective Art Show are extremely representative of her style, soon well defined from the beginning and matured since she started her career. They belong to a disquieting Surrealism where characters, probable but not assimilable to any type completely rooted in reality, represent probably different aspects of the same subject: the artist herself. Her painting is a thought translated into image, starting with the conviction that language normally used in “figurative painting” to describe reality, at the end of the representative course, gives it just one of the thousands of possibilities of interpretations. So the sensation in front of these paintings is that they develop a spin around the Ego using a language that draws on a sort of “Magic Realism”, a term used by Franz Roth and Massimo Bontempelli to identify the tendency in the European painting of the 20’ies to give Reality a photographic representation, immersed nevertheless in an atmosphere silent and detached that puts in a painting an element of unreality and a sense of gap of time.
The narrative process of Evelyn Astegno also utilizes the ambiguity of the frontiers between Truth and Dream; it adds the disquieting doubt that there won’t be any awakening to mark the harsh certainty of reality neither a reversible way to the total immersion into the Ego. Interesting in Astegno’s production is also her work as a portraitist by which the painter managed to claim critics’ attention for her capability of catching intensity in each subject’s existence and making emerge the primary qualities, here too, by means of a magic alchemic process, beyond the truth of the very physical features.