A sinuous, soft and continuous line defines a woman's features, that woman for wich's possession the best mythological pages have been written.
The amber-coloured and shining complexion caresses with sweetness these nudes, creating sensual shaded corners, where the minds of the painter and of the public hesitate...

Maestro Giuseppe Muscio - Painter


Manuela Facchin Varalda


critical text
Valter Guglielmetti


Manuela Facchin Varalda's painting comes from the desire of a deep knowledge of things.
In her canvas the recall to the Great Masters' painting echoes, still being her a figuration casted in the becoming of an ever inexhausted research.
The virtuosity of the sign, the chromatic richness, the tecnical knowledge act as a support to an inquiry on the human and on the way to put oneself in front of the big existence's interrogatives.
In this field, the representation of “different” subjects is not a simple reference to a past orientalistic bent, nor mere ethnic folklore fascination, but a continuous attempt to arrive to the essence of the human nature, beyond the superstructures that the social living has imposed.
In her specific language, color becomes, in his expressive valence, instrument of a more direct involvement of the observer towards the artwork.
Here are therefore the ranges of saturated reds, distinguishing mark of her most intimist paintings, in which the painter is closer to the subject.
Here are the glazings, the “glacis”, the dissonances of an intense and meaningful chromatism.
The amber skins of the exotic beauties, at a close up examination, reveal the thousand gradations that the artist creates; light is the instrument that grants a desire of cognitive deepening.
In the oil painting, reality dissolves and recomposes itself transfigured in it representation, almost provided with a new, independent existence, translated in the pictorial expression.
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In front of her still lives, one can perceive the artist's need to pass the mere real appearence to reach the nature's stuff, her “Poetry of the Real”.
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In the “Reflects” series, Manuela stops on the “Soul's Graphy” that every face reveals, in nearly monochromatic and strongly shaded images and the subject seems to become liquid substance, that goes beyond the canvas' boundaries, to arrive like an ephemeral reflect, never making itself stuff.

2005
Valter Guglielmetti

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