INTERVIEW WITH LAURA FERRETTI
At
the
national
kermess
of
contemporary
art
of
Bastia
Umbra
I
have
a
happy
meeting
with
a
country
woman
of
mine,
Laura
Ferretti,
who
makes
her
debut
in
this
Expo
of
Art
'90
with
solid
talent
and
valuable
sunny
brightness,
harmonically
marked
by
the
ochreous
and cheerful chromatisms of the maremma grossetana. I would like to have your impressions, Laura, about this Expo Art '90.
It
is
evident
the
ample
cultural
breath
of
this
kermess
that
has
involved
artists
of
various
fields,
that
has
approached
sensibilities
and
poetics
of
avant-garde
(an
example
for
all
is
the
colourful
wooden
statues
by
Molinari)
and
other
ones
turned
to
a
visitation
of
the
past
as
it
happens
in
the
works
by
Marchionni,
works
full
of
magic
evanescence
as
ancient
frescos.
It
is
very
large
range.
Perhaps
the
galleries
are
too
many
compared
to
the
number
of
the
artists
and
this
reduces
the
possibility
of
a
direct
comparison.
A
comparison
is
particularly
important
today
considering
that
it
is
difficult
to
penetrate
through
the
bark
of
this
contradictory
and
incoherent reality.
What will you bring to Maremma of this your experience umbra?
Surely
the
expectations
were
a
lot
of,
it
always
happens
to
whom,
as
me,
remains
for
a
long
time
at
the
borders
of
a
reality
and
then,
once
forded
the
river,
would
like
to
understand,
to
penetrate
a
whole
world.
Umbria
Expo
Arte
is
at
its
first
edition
and
therefore,
in
spite
of
its
many
undeniable
merits,
has
not
had
(and
has
not
given
us)
a
true
impact
with
the
critics
even
if
there
was
an
effective
exchange
of
opinions
among
us.
So
I
bring
home
some
names
of
people,
artists
and
gallered
men,
with
whom
the
dialogue
has
been
deep
and
constructive.
Like
friends.
I
bring
home
a
lot
of
and
different
annotations,
more
positive
than
I
hoped,
given
by
art
critics
and
others.
I
bring
home,
and
this
is
the
most
important
thing,
a
great
desire
to
take
palette-knife
and
brushes
in
order
to
fix
ideas
and emotions.
Which are the peculiar elements to your way of painting?
Since
very
young,
and
you
know
it,
I
have
been
attracted
by
trees,
flowers,
nature
that
surrounds
me.
Going
through
paths
of
the
Maremma
has
always
filled
me
with
joy.
I
love
my
land,
its
clear
light
that
makes
the
puddles
shine
among
the
burnt
esparto
of
the
marsh,
I
love
this
mixing
and
dispersing
of
sweetness
and
asperity.
That
is
what
I
have
in
my
eyes
and
in
my
heart
when
I
am
in
front
of
the
canvas.
Perhaps
because
of
this
that
my
colors
are
clean
and
intense,
the
light
has
a
fundamental
role,
I
alternate
the
flat
and
rapid
brushstroke
to
palette-knife
that
cuts
and
underlines
the
asperities
in
order
to
remember
us
that
this
laughing
earth
comes
out
from
a
past
of
bitterness
and
sweat.
Being
surrounded
by
so
much
beauty
seems
almost
a
luxury
today,
but,
for
me,
it
is
the
only
way
of living and, if we have this fortune, should not we have to communicate the joy the and vital strength which derives from it?
How was and how would you have liked the meeting with the public at Bastia Umbra to be?
Some
people
talked
to
me,
they
understood
the
essential
lines
of
my
painting.
Adjectives
as
sunny,
bright,
serene,
cheerful
and
some
poetic
too,
have
been
used
very
often
and
sincerely
I
enjoyed
it
very
much.
Sometimes
the
public
of
the
Expo
was
tired,
stunned
by
the
excess
of
the
messages,
so
someone
looked
like
passer-by
instead
of
a
public;
however,
if
he
stopped
and
looked
at,
a
good
feed-back
was
guaranteed.
To
see
the
exhibition,
I
employed
many
days
too
and
with
time
I
discovered
new
artists,
new
suggestions
.
When,
finally,
does
the
relationship
public-painter
result
positive
element
to
the
coeducation
to
the
art,
possible
stimulus
of
growth and creativeness for the painter?
I
don't
know:
perhaps
always,
perhaps
never.
I
make
myself
understood
better.
Communication
doesn't
exist
if
nobody
is
receiving,
communication
needs
a
public.
The
greatest
stimulus
reaches
the
painter
through
his
eyes
and
therefore
through
the
comparison
with
the
works
of
other
artists
of
the
present
as
well
as
of
the
past.
It
is
very
important
that
extraneous
eyes
look
at
our
painting:
it
serves
as
mirror
to
our
works
so
that
we
may
see
them
objectively.
Do
you
know
that
if
you
want
to
look
for
some
mistake
in
a
drawing you don't have to look at it directly but reflected in a mirror?
I
know,
dear
Laura,
and,
with
an
almost
“pirandelliano”
suggestion,
I
wait
you
on
higher
paths
and
hope
to
find
"mistake"
in
the mirror of your paintings, mistake that feeds your thirst of improvement, that is thirst of life.