IT

Defining Beatrice Di Francescantonio an artist can be reductive. There are in fact more than one of the artists, or rather the artistic souls, that we capture in their works.

And in fact, few are able to go from abstract to figurative, from collage to design, with the same ease and easiness of this artist.

Beatrice Di Francescantonio, graduated from the Brera Academy which is already a guarantee of the solidity of her background. But what emerges is not so much her technical ability as her playful spirit veined by a strong “sense of humour”. This artist likes to get involved and play with reality. And this is perhaps the “fil rouge” that goes through her varied production. It is no coincidence that in some of her works the pop art and surrealist spirit of an artist, like Lucio del Pezzo seems to emerge.

The combination of dissonant dimensions between them, such as the geometric and the figurative miniature, triggers a detachment from everyday life. A sort of joke or mockery in the face of the harshness of life that are located as a distant and therefore non-threatening background. In short, a measured serenity prevails over the drama.

It is as if the artist wanted to invite us to appreciate the little things in life which, on closer inspection, are the ones that matter most. Because it is easier to get lost in the vastness of an ocean than in the sly gaze of a cat or in the flapping of a bird's wings. Yet it is precisely in these details that lies the greatness of a work that has the ambition to last over time. Minimal aspects that the artist grasps through an uncommon sensitivity, and which she then reorganizes at a design level in works that combine fidelity to the academic tradition with the ruthlessness of a futuristic gaze.

This applies to the many dimensions (informal, geometric, portraiture ...) in which the artist's versatility unfolds. There is not one that prevails over the others. The choice probably depends on the spirit of the time, on the unpredictable desire to wear one dress rather than another, as well as on the desire to immerse yourself in the "classic" rather than the "contemporary". Not on a whim, but by a conscious choice, considering that to understand the complexity of the world, multiple interpretations are needed.

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Paolo Avanzi