That urge to enter into the drawing and stay there…
Written by Artemide De Blanc
The first feeling, looking at the drawings -or better, the mixed-media shorts- by Luisa Cittone, aka Supercittons, was: ‘put me in the drawing and keep me there’. Then, before booking a psycho-analytical session, I talked to her and realised that each of us has a trapdoor hiding an alternating current, a way out of the apparent and reassuring ‘normality’.
Among the plates that reveal an impressive technical skill and an erotic power that envelops like a sirocco, two words written by an admirer stand out: ‘streamline the forbidden’.
The PROHIBITED. But what is it, the forbidden? Apart from ethics, the imperative not to harm others, what exactly does Prohibited mean?
“In bigoted society, the nude, the manifestation of the body, is immediately linked to pornography. But we are in Italy, the cradle of Catholicism, elsewhere it is not so. And then eroticism does not necessarily reveal. On the contrary, they are details, they are breaths. It’s a dropped shoulder strap next to a bare neck’. Supercittons speaks of his world with the same intensity with which he draws. The pencil is an extension of her soul, of her imagination, a perspective that has been attached to her since childhood (‘it comes naturally to me, as others speak I draw’, ed).
That gutted love of anatomy, I like to define details of the body, even veins. And to say I used to illustrate books for schools!”
In any case, for me Supercittons should be in the Zanichelli under eroticism. Because it substantiates it more than a thousand words, more than a thousand films that confuse sex and dreams. With that unabashed love for anatomy, I like to define details of the body, even veins. And to say I used to illustrate books for schools‘!
What diverted her away from Neanderthals and converted her to slightly different flexibilities was the vision of Frida Castelli’s drawings. And the all-consuming drawing drug found other inspirational fuel.
The fact is that, as the fans write, ‘they look alive, the drawings’. Because they are born from small mental films first and then translated into visuals with models, sets, precise outfits.
“It is an artistic project that starts with sketches and poses in a notebook. Then I take the photos with my Reflex camera, telling the models exactly what to do, how to move. Finally, I dissect the photos, sometimes drawing a detail from them. And I play with superimpositions, combining photography and illustration”.
Coffee drips, turns from 2B to 12B pencil, experiments on already coloured Canson paper. Faber Castell pencils, spatulate acrylics, Ecoline, are the tools with which Luisa structures her ‘hunt for emotions’, as she defines it. Then, there are the muses: like Agatha De Vil, among other things the protagonist of the exhibition Io, Agatha De Vil, fra disegno e fotografia, present among the 150 of the Photo Festival Milano 2021 circuit.
“In the end, I capture the mind”. In the end, Luisa arrives one step ahead of the accomplished, of the manifesto.
Like a metaverse realised in charcoal. And if Eros is vital passion, the desire to enter the drawing and remain there at the end is a desire to live.