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The camera captures life, and the montage cuts out 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, in short. After all, an oil cinema.
_ Palazzo Comunale, Rome
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