CRITIC

The way that has led her to the tridimensional form, she who has risen from the oil painting, has been slow but continous: from a predilection for the pictorical surfaces, that has become more and more upset, rhythmized in more tones into a syncopated perspective, she has reached to the bass-relief, that on the contrary is expressed in well modulated compositions where the depth disappears in favour of the sensorial and tactile quality of the different planes.

In this stage Pia Ruggiu concentrates also on the colouristic point of view: the monochrome is not lack of colour but synthesis, choise of a very small range of tones, that often change just when the used material changes, and it is here that the lesson of Burri becomes concrete and the link between the artist and the landscape, that sorrounds her, consolidates.

Although there is a chatacteristic difference between the pictorical works and the sculptural ones, there is no dissonance on the whole of the action of Pia Ruggiu; it seems almost as if in the pictorical stuff the artist looks for and recreates the sudden fickleness of the air and of the water, and on the contrary, as if in the sculpture she finds again a landing-place as safe and sound as the mainland after a voyage during a storm.

In this way the painting, that disentangles on a only dimension, invites to a vision that makes move in a agile way the glance; the sculpture, that by nature obliges to a vision in the round, leads to an envelopping and caressing glance but that almost reaches the standstill.

But if for facility of reading the researches of the artist have been presented in order of sort, now the different phases coexist: Pia Ruggiu paints and sculptures finding in these experiences a common and wider opportunity of expression and knowledge. 

Josephine Sassu

Translation: Anna Scalas

E-Mail: scalasannina@hotmail.com