La Flor Que Yo Esperaba reflects Rossetti’s latest exploration into an intimate journey of reflection and personal rediscovery. Derived from nature and inspired by Pablo Neruda’s poetry, these abstract works subtly invite the viewer to immerse himself/herself into an emotional ocean of visual enchantment and delight. Rossetti’s recent monochromatic works, just as Nerudas’ poetry, are charged with passion, emotion, love and humanity. They dwell in the verge of despair and peril while elevating the beauty and romance of our human nature.
Rossetti’s exquisite textures and purple-toned organic forms evoke floral motifs that appear to defy gravity as they coexist within subtle areas of seemingly empty space. It is in such environment of quietness and distress that Rossetti’s visual poetry embodies the emotional charge of life’s own journeys. La Flor Que Yo Esperaba, which translates into The Flower That I Was Waiting For emerges as an exhibition charged with personal meaning, intimate passion and positive energy. Through this exhibition, Rossetti’s creative flower appears to already be here.
Junto al mar en otoño,
tu risa debe alzar
su cascada de espuma,
y en primavera, amor,
quiero tu risa como
la flor que yo esperaba,
la flor azul, la rosa
de mi patria sonora.
– Pablo Neruda
Sergio Gomez, MFA
Director / Curator
33 Contemporary Gallery
Zhou B Art Center, Chicago
Brigitta Rossetti’s art comprises a juxtaposition of images and words as her works often are in- spired by poems. On this occasion Brigitta does not derive inspiration from her own poems but from Pablo Neruda’s. La Flor Que Yo Esperaba, a verse from the poem Tu risa (Your Smile) pro- vides the title for her solo exhibition. Brigitta couples the voice of the poet with images laden with deep emotions, made of simple material taken from everyday life, reminiscent of an earthly and sensorial living experience. The tactile nature of some of her works is in apparent contrast with her choice of colors, often soft and delicate, recalling in our visual experience spiritual ambiences belonging to another world. Brigitta Rossetti’s art draws inspiration from distant sources: from Oriental paintings to Minimalism of the ‘60s. The final result is an inspiring synthesis that leads to a deeper understanding of Pablo Neruda’s words.
Silvio Marchetti Director Italian Cultural Institute Chicago.
Italian Cultural Institute Chicago
I don’t love you as if you were a rose of salt, topaz,
Or arrow of carnations that propagate fire:
I love you as one loves certain obscure things,
Secretly, between the shadow and the soul.
This is the starting point for Brigitta Rossetti’s journey into her soul as an artist and a woman. A particularly long journey, often a matter of suffering, which she set out on in full awareness, as a result of having read Pablo Neruda’s poetry, that she was a woman almost closed in on herself, retiring and, perhaps, defeated by the efforts required to affirm herself and all her ex- traordinary force. “I no longer remember the emotion that can lead to passion,” reveals Brigitta Rossetti at a certain point, in an intensely personal dialogue that came to light at a moment of intimacy with the world. “Poetry must walk in obscurity and meet the heart of man, with the eyes of a woman, with strangers in the street, with those who, at a certain time at dusk or in the middle of a starry night, feel the need for perhaps just one verse…” wrote Pablo Neruda in his autobiography I Confess I Have Lived. Brigitta is indeed one of the many who have felt that need for just one verse of poetry. She, also a poet, has grasped this and transferred it to a ma- teriality that stresses the contrasts of light and shadow, black and white. In a delicate manner, by means of flowers on canvas. A delicacy, however, that lets one espy veiled emotions, as the time has not yet come for the overwhelming sensuality of life to make itself known. The artist is still evolving. She feels that something is fermenting inside her, just as the poet wrote: “as the plant that never blooms, but carries in itself the light of hidden flowers ”.
Her art needs huge open spaces, needs nature, whether of a landscape or people. Although introverted, in reality Brigitta Rossetti has a transparent soul. Simply observe her as she care- fully moves her canvases, small and large alike, before packing these so that they may cross the vast ocean separating old Europe – where she lives and works – and the New World, to America, the first country to discover and appreciate her work. She even wants to travel inside the large crates protecting her art, as she never wants to be separated from the forms, mate- rial and smells of her paintings.
The moon phosphorescent on the errant waters.
The days, each equal to the next, chasing one another.
The mist unties itself in dancing figures.
A silver seagull lowers from the sunset.
Sometimes a sail. High, high stars.
Brigitta’s works will see these elements as they cross the huge water between the continents; elements that will inspire the artist to create some new works just days before her show opens in Chicago: a succession of paper flowers, almost like a work by Warhol, giving us a glimpse of the forthcoming change. Black and white is replaced by new colours, those of the soul. Leaves, flowers, skies and inner turmoil, all take on new, warmer shades, from lilac to pink, green to lavender, now finally break- ing through.
I want to do with you
What spring does with the cherry trees.
What emerges is domineering sensuality, kept locked up for too long. Her works become larger, attract the eye, with no vestige of shame or fear. They are aware of how much pleasure they bring. It is this very sentiment that is aroused on looking at the paintings. The artist’s eyes are hot, but still not satisfied with the explosion of colour that nature offers.
The night beats in those intense eyes you have.
Flowering fresh arms and a lap of rose.
Your breasts resemble the white shells of snails.
There has come to sleep on your belly a butterfly of shadow.
Brigitta only chooses a few colours, as is her style. Yet those few colours perform miracles: through flowers that are finally happy, she reveals herself reflected in the eyes of people, the heart, the need to love and to be loved. Like us all, she seeks, desires and dedicates her life, without, at times, finding the words to say so.
The artist, however, has the means to do this, even by creating a wealth of emotion: the enormous cubes in the centre of the show lead us to look inside ourselves, as though seeking something in our dreams.
In the hardness that I built, like a box,
Slowly and with metals, I would like
The youth who opens it, face-to-face, to find life,
And plunging into his soul may he reach the gusts
That spelled my happiness, in the stormy heights.
Journalist / Independent Curator