Using maximum austerity, Patrizia Lohan plays with the variables
of minimal forms which emerge from a Modulor of her own design,
arranged in a particular order and always on a white background
to form a uniquer constructive design.
In fact, her proposal is a set theory applied to art.
But unlike other artists working with concrete art,
on the whole a cold genre, she infuses her works with a warmth
that derives from the intrinsic quality of her materials
and a subtle and iridescent colouring which emanates from the interior
of the different elements of the series which make them up.
These elements never fall into monotony or repetition
because their placement (vertically or horizontally) and
their form (flat, wavy, fragmented, open, or closed within themselves)
offer a dynamism that gives each of her works a unique personality
while showing the complementarity between their
more rational geometric aspect and the more emotional part
which results from the harmony between the forces
and the delicate chromatic note that adds to it.
Patrizia Lohan’s paintings invite visual and mental concentration
and remind us of the accurate title of a book published in 1920 by
Gestalt psychologist Wolfgang Köhler:
“Die physischen Gestalten in Ruhe und im stationären Zustand”
(“Physical forms in peace and at in a state of rest”),
because these works transmit peace and tranquility.
Passive contemplation is not sufficient in order to enjoy these works in their whole dimension; they are, in equal parts, the result of rigour and sensitivity. This mutable capacity, which depends on variable external circumstances like direction, distance or intensity of light, to which the artist adds her ethereal and very significant contribution of colour like an “absent presence”, invites the spectator to move around the objects and to get involved in an almost infinite play of perceptions. We could, therefore, almost categorise them as interactive, but in a far from banal sense, because these works seduce the glance, they trap us in their magic simplicity and they succeed in becoming involved in the sphere of mirage, of the unreal and the intangible.
Raquel Medina de Vargas
Ph. D. in Art History
“Every object which is different is also distinguishable, and if every object is distinguishable it is divisible by thougt and imagination.”
David Hume. “Of Kowledge”.
Actually it is very important that, when we stand in front of an artwork, it should transmit us the sensation of a visual pleasure, where emotion, sentiment and passion are present, but if we also perceive serenity, calmness and placidity the more agreeable it is. And this is precisely what the German-Italian painter Patrizia Lohan offers us with her recent creations which carry the title Reflections, inviting the public to think and reflect, going far beyond of what Hume called perceptions, where the “imagination tells us that our apparent perceptions are uninterrupted in their existence and different in between themselves”.
Member of the International Association of Art Critics