EMANUELA FRANCHIN, THE LIGHT THAT REARS THE MATTER

It was 2002, Emanuela Franchin made her debut in the art world with a minimalism linked to nature and to the formal and medium study. His early works are very personal and intimate representations of flowers. Large corollas, which tell the story of the flower in an extremely targeted way to capture its poetic grace.

The first stylistic evolution, also thanks to the teachings of Piovan , a contemporary Venetian artist, was completed in 2006, taking the first steps in the minimal and essential landscape of his works of the period. It is at this juncture that the artist's interest in emotion developed, told through his way of feeling the detail of the pictorial image.

2010, the year of a great turning point and of joining the " Metaformism " at the invitation of Giulia Sillato. Through the teachings of the Roman master Mario Salvo, he perfected and finalized his studies on the technical use of the stratigraphic spatula.

The turning point takes place in the most radical way possible, passing from an intimate formalism to an informal intimate; the research moves, through the exercise of the technique, in the mental and emotional area of ​​the colour.

Examples of this are "Risacca" or "Surf", both paintings from 2012. The artist is already much less tied to a material vision of the concepts she proposes. What reminds us of a still sea, or the motion of the waves, are not fully significant images, but the color applied to remind us of that sensation. Something alive that the author defines as the "codes of the soul". The matter becomes a wave through the motion of the spatula and rediscovers color in the stasis and placidity of the undertow.

In the course of ten years, the artist has passed from visual elements (increasingly less clear) to abstractions of feeling, where she recounts the expressions of emotions, moods, inner visions that are amplified through a rich chromatic range.
Confirming her artistic career, in 2018 she was selected by the Commission and accepted as a member artist by the "La Permanente" Museum in Milan .

The author's style is deeply welcoming, a great harmony and a sense of stillness pervade all the compositions, from which traces of memories and what the artist defines as "emotional vibrations" transpire. The color becomes material at times, at times, with a clear contrast, it fades thanks to a "tonal system" using backgrounds stratified by transparencies and delicate glazes which, depending on the light, transform into infinite shades.

The gesture is abandoned in a more nuanced amalgam, and the reconstitution of feeling takes place through the desire to transmit a message full of positive sensations; that positive energy that accompanies the fragility and greatness of the human being even through the storms, the adversities of life, a good that is presented through colors

full, and layers of material that thicken and create evocative forms. One can really think that, when she speaks of "landscapes of the soul", she wants to propose the most beautiful and perhaps also the least accepted part of the vulnerability of human beings.

For the artist no inner beauty should be abandoned.

Through the material study that this artist carries out, as Fosco Maraini would say, her Endocosm is laid bare, the inner place that each individual possesses. For artists, presenting their own endocosm means bringing out the vision of the world they carry with them from their own interiority, it is a personal concept made up of attentions, knowledge and desires.

Emanuela Franchin's universe is based on a particular sensitivity, from a technical and chromatic point of view, which allows her to communicate themes and moods to the public of every nation and for this reason she is easily conveyed. His is a universe made up of exchanges, the landscapes of people's souls come into contact with his and with each other.

In his paintings there are always colors that recall warm and familiar emotions, the positivity that accompanies it is contagious, especially in the canvases of the last cycle, and it pierces a technically structured material with light until it reaches like a warm embrace on the shoulders of anyone who looks .