Currently based in Madeira, Valentina Nisi has, along with Marcos Milewski, perfected the technique of watercolor. According to the artist, her first and most natural way of expression remains paper, fabric or any other medium that can be the target of a plastic expression. The Al-Kimiya Exhibition, in collaboration with Valentina's sister Raffaella Nisi, is the first exhibition by Valentina in Madeira and mostly covers the work done in the last four years.
The text of the exhibition catalog is signed by Professor Dr. Mónica Mendes, Professor of FBAUL - Faculdade de Belas Artes da Universidade de Lisboa, who states: Valentina Nisi's watercolors express vibrant notes of moments in nature; besides the color saturation, the textures created are revealing and embody the sensuality of matter, materials used and represented. We find ourselves facing a diverse and consistent collection: with a unique and intimate approach, Valentina takes us to both the pre-Impressionist ephemeral atmospheres of Turner with its the simplification of forms and the density of the post-Impressionists Cézanne and Gauguin, and the vigorous expressiveness of the Fauves.
We start with the subjective perspective of the artist to a personal experience where fantasy and reality take place - feeling the atmosphere, capturing the light, touching the matter. In these scenarios that trigger our senses and imagination, we become the protagonists of fantastic kinesthetic adventures, (re) discovering the places inhabited by Valentina, either with recent coastal views of Madeira and her garden, or years ago on the outskirts of Dublin. The grand tour takes us through the nature of dreams in Funchal Bay in Madeira, the Cabo Girão, Fajã dos Padres and coast, houses and challenging roads of Ponta do Sol, the silhouettes of uninhabited islands and beaches of the island of Porto Santo in Portugal, to the contrasting industrial buildings in the Sandymount Ireland, which seem to emerge poetically from nature.
Visiting the exhibition or flipping through the catalog, I believe the enchantment in perceiving and exploring the watercolors of Valentina Nisi is not just my subjective experience, but also yours - enjoy the journey.
Raffaella Nisi has extensive training in art, photography and printmaking (1995-98 | Turin, Italy). Ceramic and clay on the wheel, 1999 (Turin, Italy); in Fashion Design, 2010 (short course Saint Martin, London, UK), recording and printing, 2012 (Paris, France), jewelry and metalwork in contemporary jewelry, 2013-2014 (Professional Institute of Art Selvatico Pietro, Padua, Italy). Raffaella Nisi has attended several workshops highlighting among them the Burning Wax, 2014 (London, UK); Crimping stones, 2014 (London, UK) and Art Therapy, 2011 (Padua, Italy). Raffaella Nisi lives and works in London. In recent years she has devoted herself to working with metal, engraving and printing jewelry at the Instituto Pietro Selvatico in Padova.
The artist states that she has always felt attracted to color and to working manually with different materials. Raffaella considers that experiencing modes of expression through different materials allows her to put herself in contact with Feelings, with Being and with Life. Raffaella also considers contemporary jewelry particularly interesting as a support for identity, a concept that has been explored given that jewelry is an art to use, strengthening self-expression, representing interior atmospheres, strengthening cultural ties and giving the wearer a sense of belonging. It may even - as mentioned - be therapeutic.
Raffaella considers that Madeira is a strong inspiration and that the fantastic landscapes of Madeira, the stone walls surrounding narrow roads through the hills, rocky cliffs looking at the ocean and the multicolored flowers were critical elements of inspiration for works that present ‘Madeira's inner view', exhibited in the Museu Casa da Luz from 9th October onwards, as part of the Al-Kimiya Exhibition. Raffaella understands that the route followed by the realization of this exhibition was almost a personal journey and by expressing it, it allows the viewer i.e. the visitor to the exhibition, to become a traveling companion, as if the environment has become an interior landscape.
Disclosure MCL | 2014