Narrative Painter

Aurora Mazzoldi as a narrative painter

Even if some people define me as a "figurative", I feel better as a narrative painter. And some reviews confirm it.

Maurice Taplinger says: "Aurora Mazzoldi, a contemporary romantic, known for poetic, softly focused paintings with a decided narrative quality..." (Contemporary Art Informed by the Legacy of Greece and Italy,

For Angela Di Bello, Director of Agora-Gallery (New York), I am a narrative figurative painter. She mailed me: "Your work: With a focus on the narrative figurative and modulation of color to express emotiv nuance..."

Enzo Santese, an Italian art historian, writes:
"Aurora Mazzoldi transfers creative energy into her works, giving them a poetic inspiration which streams into a romantic, manifold originated, environment. Even in cases where the color palette is limited, even almost monochrome, we perceive arising images, which could impossibly have formally definite outlines. The artist’s palette is subdued (and sometimes it leans to monochrome) when she depicts anatomic or physiognomic features in the effort to balance between evocative tensions and narrative rushes, which take alternatively over. Her poetics, full of memories and emotions, goes from still life to landscape, from human figure to portrait.(Enzo Santese – Nord East Artists – Arte – Nov. 2007, translated from Italian)

Another review, even without defining me as a narrative painter, says that I tell "social microstories":
"…Her up to now favourite themes relate to a minor human world that her paintings, full hope and trust, reveal to us: these real social microstories are not only given by meaningless everyday occurrences, where flowers and hats have the main role. They introduce rather the most important, true protagonist: the human being…"

(“Wishing a comeback”, Federico Napoli, Flash Art, Oct.-Nov. 2005, translated from Italian)

And now a more detailed description of me as a narrative painter:
The emotion of moment in Aurora Mazzoldi’s worksAurora Mazzoldi’s art comes from genuine inspiration, which allows her to give her works a participative narrative tone.The focal point of her work is woman, or better, all what somehow concerns the woman’s world., into which she delves with a remarkable introspection ability, allowing her to reach a dreamlike atmosphere, where she “narrates” through images and very soft, well modulated colours, that seem to remain out of whatever definite time concept.

She puts herself beyond the narrow phenomenal reality, as we would say in philosophical jargon, and she is able, in this way, of a complex figuration that catches the emotion of moment with smoothness and an excellent colour and sign precision.. In this meaningful painting experience woman becomes a paragon of purity, an uncontaminated filter to approach, with due precautions, the centripetal complexity of reality without becoming in some way accustomed.

The impression she puts on canvas becomes, for this refined artist, a chance to look for those existential reasons which find expression through infinite silences, but also through a steady, sorrowful appeal to live the everyday enjoying every single life moment, free from routine-caused anxiety and frenzy.

This painter needs only a few elements to create an intense atmosphere: a group of very light hats recall the summer; some objects casually thrown into a bicycle basket recall a trip in the country; a row of close faces brings us to think of what a face can reveal, but also conceal; a lying nude can be differently interpreted: it can recall a desire or it can be absolutely free of any manifestation of it.

In this hovering atmosphere develops the painting experience of Aurora Mazzoldi. She often uses very peculiar and unusual perspective views to direct the viewer’s attention to some details, which are the focal point to a complete interpretation of her paintings.

It seems that the artist addresses directly to the viewer to share with him/her what is painted (but never in a scholastic or pedantic way) on canvas
(Simone Fappanni, Mazzoldi, Immaginaria Editrice, pg. 6, translated from Italian)

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