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Eleonore Floret

A shape that becomes a structure.
Luisa Russo is a young artist who, since the early stages of her research, has been interested in graphic design first, and subsequently in constructivist dynamics, in an attempt to explore new creative possibilities, both in the formal and in the technical, operational, speculative, material and content, in which the link between "art and technology", or "art and science", is always a difficult relationship to decipher.
About the “legitimacy” of new tools and technologies in the field of art and creativity, this artist rekindles the debate with her surprising identity: observing, analysing, building a hypothesis. In other words, she knows how to create links between “idea” and “construction of the idea” in relation to the materials, technologies, and information available, where “the geometry and the human” and “ideas and poetry” relate to each other in their complementarity.
On the assumption that in reality nothing is defined or definable, her research represents the rationalist spirit that, starting from fundamental principles- intuitively or experimentally identifiable - such as the axioms of geometry, or the principles of mechanics and physics - seeks through a deductive process the ability to develop new problems and look for new aesthetic solutions: where nothing is entrusted to the randomness of improvisation. Even irrationality is guided by the compactness of "form", so even the matter that makes up the work becomes conscious stratification of different moods: in Luisa Russo's works a peaceful coexistence of the "reasons of the heart" with the "reasons of intelligence" miraculously happens, according to the artist's unprecedented faith in the coherence between aesthetic consciousness and ethical conscience.
 
In its analogies and scientific correspondences, the work for her is on the threshold not only of the world of phenomena, but also of a research approach based and explained through its properties and its constituent elements.
While trying to get ahead with a research that is not just a kind of optical-visual game, where the dynamics of the work construction provoke a rational emotional participation of the viewer, the work is a “shape” that becomes “structure” - “content and container”: their functioning leads to a transformation process that does not necessarily lead to the “different”, but to the mutations of the work in relation to the perception of it, even beyond its space, the space it occupies and the space that remains out of reach of the perception of the viewer himself.
In the work you can see:
- Formal perfection, the form
- Inspiring thought, the content
- Power, aesthetic value
- Beauty, which according to Aristoteles coincides with truth and the realm of ideas.
We could say that the artist’s research is a direct flow from the work to the observer, where the work emotional drive is projected onto those who look at and are moved by it. The expressive value, or structure, instead, flows from the observer to the work:
"When I look at a painting, I am able to appreciate it; thanks to my aesthetic understanding and my knowledge, I am able to decode and understand what is ‘behind’ it. From Invisible to invisible. The shape is the work’s skeleton, or structure while the content is the brain;
The expressive value, or structure, is the beauty of the features and body, the aesthetic value is the heart.

Italy - 2000-present - plexiglass

Luisa Russo - Sculpture - cubo impossibile

Design & Contemporary Furniture

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Shōwa period (1926-1989)

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Design & Contemporary Furniture

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Luisa Russo - Sculpture - cubo impossibile

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