back

The biography of Luisa Romano, no doubt affected by the experience of traveling through Italy( in following her father’s  professional transfers) from Venice to Sicily and at a later stage abroad with her own family as teacher in Italian schools in Tripoli and Istanbul, is nevertheless concentradet along an inner course that turns art and painting into a continuous climb towards the acquisition of truth.
She was introduced at a very young age to esoteric meditation by Arduino Anglisani and which she later maturated, after returning to Italy (1960), in relation to the “Trilogy” by Kremmerz which in fact is the natural humus of her artistic work, always directed to conferring “visibility” to the deep and profound values of the spirit, and to their incarnation, where painting is the “go-between” as a sort of alchemy and sensuality which makes truth live inside a living body.
Luisa Romano’s quest for this Alchemy-Painting factor as a transmutation, as the transformation of the world of the body as in her “Tempo dell’Occhio” (1975) (the Time of the Eye) and through the “Codice delle Muse” (1971) (the Code of the Muses), continues “secretely” yet “openely” manifested through an uninterrupted series of exhibitions (Beirouth 1951; Milan 1969; Rome 1970,1973) amply and favourably reviewed by the critics (Rivosecchi, De Grada, Trucchi, Rodari, Cimara).
Inside Luisa Romano herself, crestivity becomes even more closely bound to her woman-hood, the woman considered as the archetype figure of the “great Mother” and the “body” as a more direct contact with nature and the Cosmos which she always uses as a reference mark, setting a point of a cosmic range, as in her view in the “Tavola di Smeraldo” (the Emerald Table) which expresses the unity and the identity of matter and the sacredness of life.
Engrossed in this journey of hers  (with mind and heart) towards truth, she tends to increasingly give information as to the reality of the symbol (being the daily experiences lived by man) by suggesting an image which does not now only express physical space as such but which underlines this absolute projectiveness of infinity where Luisa Romano belongs and of whose structure she is the model.
By Elio Mercuri

back