Sforza’s small oil paintings stress everyday moments, singling out insignificant details and analysing their unique structure, their ways of reacting to light and reveal colour, transforming a simple thing into...
Sforza’s small oil paintings stress everyday moments, singling out insignificant details and analysing their unique structure, their ways of reacting to light and reveal colour, transforming a simple thing into a complex and versatile matter. The paintings are luminous and figurative, but not immediately decipherable; they persevere in their elusiveness of mysterious objects, perfect arabesques one step removed. The different compositions are all characterised by the study of the image either fixed or in movement, but the stylistic elements are those of the cinema and photography: enlarged close-ups, angles and sizes with the aesthetic of a single frame, some use of over- and under- exposure, allow Sforza to cut her subject into shape, place them into brilliant, often crowded compositions. Her painting excludes the human figure and instead prefers the happy collaboration between the drapes of a piece of cloth and the bark of a branch; the upward flight of a belt from a drawer or within the folds of a sheet, or next to other similar objects which appear magnified on the canvas.
Sforza approaches painting as a modern medium, purely using photography as lens to bring into focus the point of departure, to isolate her meticulous compositions before starting to paint. She possesses a rare sense for colour with which she recalls, distinguishes; she plays with the pro and contra with an innate grace which allows her to arrive at the monumental nature of great painting even in a small format, effortlessly. When exhibited as part of a group, Sforza’s works take on a new dimension, each pattern complementing and challenging the next. Sforza describes her oil paintings as her ‘personal mind maze’, helping her to investigate perception and its possibilities.