Since drawing is the very first form through which human beings translate an idea from their inner world into visible reality, in this era of technological evolution, its “rediscovery” reflects its powerful archetypal and psychological impact—spanning the return of the repressed and the integration of the Self to the awakening of creativity—thereby charting the map of the soul.
The studio of Germana Brizio opens to the public. An artist active for years in Rome but deeply rooted in the classical culture of her native land, Puglia. Trained at the Academy of Rome (degree in Painting in 1984) after studies at the Art High School of Lecce, her practice ranges from restoration (qualified SO.RE.A. Società Restauratori Artistici since 1986) to teaching artistic education and art history.
Paintings, pen drawings, etchings, sculptures: in the studio it is possible to admire all the different techniques with which Germana Brizio confronts the interiorization of the world and its recreation in symbolic form. As she herself says: “Drawing being the very first form with which human beings translate an idea of the inner world into visible reality, in this time of technological evolution, its ‘rediscovery’ translates its strong archetypal and psychological impact, from the return of the repressed, to the integration of the Self, to the awakening of creativity that traces the map of the soul”.
The art of Germana Brizio, as critic Massimiliano Reggiani points out, expresses with strength and sincere momentum the fascination of truth, an attitude exalted by the deliberate absence of a system of values superimposed on reality. The intense and uninterrupted study of techniques, the continuous perfecting of the creative gesture up to its absolute and virtuosic mastery, brings her close to the great Renaissance masters. Drawing or painting are for her instruments of knowledge, means of investigation and appropriation of what surrounds her. Even before choosing a subject for painting, her gaze has already captured epiphanies of profound meanings that sediment in her very personal iconography.
Women and flowers, both symbols of voluntary resistance generating paths towards the future, are recurring themes throughout her artistic journey. They represent a personal approach of relationship with the universe, a moment of encounter between the artist and what knows how to overcome the thousand transitory events of daily life. They are presences that Germana Brizio fixes and preserves through art to give us a possibility of encounter, to free a moment of reflection. Her sensitivity, perfectly suited to restoration, does not lead her to represent but rather to evoke. A bridge created – through the Artist – between observer and cultural identity. Her images belong to us, they do not make striking gestures nor act in subject scenes.
They simply remain, they cross time with the same strength as philosophy: the gaze, the measured gesture, the non-invasive naturalness o
