top of page

Un posto qualunque


"Yet I can't say more about Laura Federici's work except that, as a director, I feel a great similarity between her work and what I do.


Perhaps because she often starts from reality. Or maybe because her painting technique originates from looking rather than imagining, which is the way of making cinema that I love the most.


It seems like she looks at the world, and bounces it back to the viewer with a density of its own, amplifying carnality or blurring, or that it recomposes the game of joints between solids and voids as cinema does, when it captures reality, it recomposes it with photography or storytelling. [...]


Perhaps this: the camera captures life, and the editing cuts away the boring parts. In her paintings, Laura Federici does something similar: she captures life, the sail, and reveals it by cutting away the roughness and bubbles of plaster, erasing the hairs and puddles of dirt, the shards of bottles and cracks.

Coating everything with nice, thick oil.

A sort of cinema. An oil cinema "

(from the text in the catalog by Daniele Lucchetti)

"Laura had brought me pictures of arrangements that she, with others, she had designed. I liked them: they had none of those conventional flavors of these sort of projects.


I had published them on 'Abitare' challenging the contrary opinions of those who considered them too simple. The encounter with her drawings was not just an encounter, but a departure to discover her 'Munarian' projects for schools, her dedication to the representation of uncertain places of crossing, which are the constant ornament of her actions.


What can is there in common between those essential and direct installations, which absorbed from the tradition of modernity precisely the simplicity and the skillful play of lights and these 'illustrations' so intimate, painted with a technique that can be defined traditional? I do not know, but there is a thin thread that can be traced back to Laura Federici, to her being outside of the box, without demonstrative gestures, with her original and non-artificial individuality.


I don't like all the drawings in this exhibition. I say it right away to give more value and sincerity to the positivity of judgments on her painting and illustrations guided by curiosity and non-conformism.


It is not so much the natural landscapes rather the quick allusions of the urban places' corners; the figures that are there, but they seem to escape quickly or dive into the waters of a swimming pool, which make these drawings memorable".


(from the text in the catalog by Italo Lupi)

_ 2008

_ Galleria l'Affiche, Milan

bottom of page