Marta Biagini's "Enorasis" is an opening to a different world, not the opposite of the real one, but an immanent world. It is a more subjective look at a different, ontological dimension of the physical world, with which we have a peculiar relationship, concerning the understanding and familiarization of the cosmic elements and the surrounding space. Insight is defined as the psychic ability to see images beyond the capabilities of normal vision. It involves a subconscious process, directly related to experience, and is part of a secondary nature of man, while projecting knowledge, which is produced in ways far removed from the senses and logic. Perception through experience is related to factors that are directly influential and determined by both subjective beliefs and the general cultural background. The artist activates this process of perception and presents thirty-one paintings in which the distinction between subjective and objective elements, the empirical space, is achieved. Her work is divided into two categories. The first is concerned with the subjective self and her perspective on the morphological elements approaches surrealism, while the second, which draws inspiration from the objective world, displays recognizable forms, embedded in a more gentle poetics that discovers the paradox of the two worlds. In the section of purely surrealist works, the canvas is overwhelmed by abstract, biomorphic shapes floating in space. The otherworldly places, do not obey Euclidean geometry, but through their shadows and contours subject the three-dimensional space, thus depicting a different reality. The chromatic organisms, creations of the subconscious, float and develop, within the hallucinatory regions of the mind, where time is conspicuously absent. Past and future merge into one big present. The drawing is rigorous and the forms it forms are presented in a closed way, which gives a character of stability. The colour is applied smoothly and uniformly, without visible residues and textures, thus promoting the wholeness that characterises this, the subjective universe. The second category includes works in which the pictorial elements still have a relationship to objective reality, even if fragmentary. The colours are presented more softly and the forms cease to be entrenched in relation to their surroundings. This second world develops more analogically and more dynamically. Space here is defined by architectures, objects and plants, which are conceptually condensed in each composition. Faces and bodies are incorporated, within the abstract constructions that complete the dream world. The connection between the forms is vague, thus projecting a structural relationship that is prima facie based on the absurd. The realistic elements do not appear as information of a specific narrative, but as fragments, each of which carries its own meaning and thereby contributes to a whole, from which the pure expression of the painter is revealed. The function of the art of "insights" ", is not aimed at knowledge, but neither is it aimed at anything practical. Its aim is to reveal the conflict, between instinct and emotional reason, for the sake of expression. The two different perspectives, on the same inner world, put forward the contradiction between the conscious and the unconscious. The order and strict purity enjoyed by the forms of the abstract, surrealist works contrasts with the fluidity and osmosis that prevails in the compositions that maintain their contact with elements of reality. Thus, it stands against the already formed knowledge about the free state that prevails in the space of the unconscious and the recognizable order that characterizes consciousness and reason. The artist organizes a different structure of her painted world, where ambiguity between the relations of its parts prevails, with its existence appearing doubtful, but without being rejected. Nothing works in sequence, but everything is harmonized on the basis of a different worldview, which puts emotion in the foreground, filtered through human experience and translates morphology into a subjective, expressive process. The body of work exudes an inner force that makes this different existence palpable, which gains substance in colour and potential forms.Biagini's "insights" develop a rhetoric, through her "insights", on the consideration of human interiority and the perception of the external environment, in order to search for and communicate a space more essential and authentic.

Following Marta's artistic journey one can see a path from her anxious painterly quest, through her inner world and her social anxiety. Works mainly of faces and expressions with a perfect figurative realization. Is it enough to be art? Perfection, no, in itself is not enough and perhaps distracts from art. But when it succeeds and expresses the sensible, in Spazi della Mente, (Spaces of the Mind) then yes, it is art. It realizes the inexpressible and at the same time expresses a person's anxiety about what is happening around and within him. She finds that she needs more to express her anxiety. Thus comes the coupling of her works with the Renaissance and Mythology, the germ of the metaphysical and transcendent. Her Medea, a work intensely plastic but also wild as the myth demands. A tragic work of wild beauty. At the same time, the well of hope as my ignorance perceives it, with its crown of pebbles. Fantastic sense of anybody's imagination. The course continues with works of intense plasticity and use of color, music. Paintings of metaphysical overtones, spontaneous symbolism that submit and take off. Here the surreal and the metaphysical coincide. But perhaps this is always the case. But it is rarely expressed in a way that is so modern. It also has a beauty that at first glance traps us and as one continues to observe it leads to paths, thoughts, reflections that the creator intentionally or unintentionally makes us trace. One fantasizes about something that may exist(?). But what if Marta's art does not exist, full of anguish, anxiety, poetry. A poetry that is visual, free without any limitations of imagination, which at the same time, even if it seems oxymoronic, does not leave the Pegasus of her painting without control. A course that continues through the spaces of the mind, between labyrinths and hopes. Lighthouses and beacon-shaped buildings, inquiring (if one can say so) and restless that push the mind to imagine a modern Babel. Lighthouses all-seeing inquirers reveal paths unexplored hidden in the depths of the mind. Leading where? Do they want to lead? They probably lead to the "digging hole". And impossible to ignore the elegant birds that for me are travelling, searching for the hereafter, fleeing from Reason. The birds' course is rivalled by a kite of high flying(p.), escaping from the rooms of the mind on a course of hope? Future? After all, Marta's works are neither logic nor science. It is art. Works of art that, as they are worked through time, acquire colors and color combinations and a geometry of shapes that may have an unconscious starting point in her architectural past, but to me they bring to mind (in my mind) De Chirico and Magritte. And I am not referring to a comparison of artistic sizes but to the fact that talented artists learn and assimilate the teachings and works of important masters. Marta's art surprises, if not delights. It is not sensualism, she expresses her inner world with the tools of painting. It is the art that moves forward. Go ahead Marta (we await news). All of the above are personal opinions. De profundis, not artistically substantiated. Besides, I don't have the corresponding infrastructure. But that does not prevent me from expressing what I feel and receive from the works of my dear friend.

"Places of all colours, taken from the caress of imagination and the memory of realism, make up the world of Marta Biagini's paintings. Under the title "Spaces of the Mind", the exhibition brings to my mind, first and foremost, the sense of a poetic fragility expressed not with words, but with brush and painting techniques and materials. Marta, an architect for many years, a painter since childhood, succeeds in her works in harmoniously combining her two great loves. Architecture with its strict rules, with the freedom of the artistic act. In an embrace warm, metaphysical, surrealistically given, and all the movement spaces of the mind, with the buildings - points of reference, open their doors for whirls of thought in infinite journeys. Hidden within these architectural edifices is a plantain yeast. One could say that they are reminiscent of hideaways that invite you to visit them and wander inside, except for their solitude; to walk on their rhythmic tiles. To traverse their open passages through staircases. Search to find out what lies behind their small and large symbolisms. Somewhere there is stone and whimsical flowers. And there's sun and blue sea on the index. It's true, the element of symbolism abounds in all of Biagini's works, and the architectural motifs themselves contain symbolism. Sometimes they evoke Greek, island complexes or ancient palaces. At other times, they evoke tall, cylindrical, stately towers of a bygone era. In neighborhoods or conical forts. Elements of nature accompany them. Skies, trees, birds. And in all this, man is absent. Human figures can be found in a second group of her works presented in the exhibition. These are portraits placed in architectural environments, sometimes more defined (rooms, spaces) and sometimes placed on an abstract background composed of various geometric motifs. The faces are rendered according to a personal pictorial script, with their realism distorted. The dominant point in all the figures is their expression as well as their gaze. With wet eyes and a serious expression, they look at the viewer or somewhere else. Somewhere high. As if in silence, submerged within themselves, they seem to be envisioning, or wanting to escape from their present, to the land of their dreams."

Marta Biagini not only possesses a fertile morphoplastic imagination, through which she unleashes the expressive potential of the subconscious. With her automatic surrealist writing, she decodes stimuli and sensations received from her surroundings, from encounters and impressions, from memory entries and archetypal situations, forming labyrinthine visual fields. Her visual reflection focuses on the reconstruction of a reality derived from the origins of writing itself, as a mode of paths, varied moments and line sequences. A line that, with its windings and recurrences, with its densities and dilutions, with its rhythmic formations and oscillations, creates grids through which the secured and the unsecured are interconnected, the obvious and the supposed, the enigmatic and the paradoxical. The "landscapes" that Marta Biagini's abstract and gestural writing reveals are reminiscent of lacy screens, which unify and at the same time separate the "being" from the "appearing" of a fluid and active sequence of situations. If the existential attribute of writing itself defines the transformations and transfigurations of the "I", this first person singular, in the artist's works, acquires the multi-personality and plural of "we", as an awareness of a dramaturgy of multimodal happenings involving the present and the unseen, of a past that becomes present, but without being limited to immobilizing determinations. The viewer is both attracted to and at the same time unconsciously entangled in the intricacies of the writing that, above and beyond all else, define the qualities, textures, tensions and connotations of this space itself. A space that deconstructs and restructures, alters and constantly subverts the possibilities of securing reason. The position of this multi-faceted space is occupied by topological grids, which sometimes colour and sometimes discolour with semitones the different developments of their parts, which not only converse with each other, but also attribute an organic sequence to the whole, activating in the viewer the function of association. In Marta Biagini's works, space is identified with time and light, as micro-scales correspond to mega-scales of "events" that transcend the self-sufficiency of the "I". Each visual field is equivalent to the positive and the negative of its presence, as if the viewer were communicating with the positive and at the same time with the negative of a photograph, because the point, in this particular series of works, is not only to reveal the metamorphoses of an "image", but the synergies as they indicate the very morphogenesis, through space, time and lightness, of a visual field that, as a screen, pulsates with life, consensual and unfolding, contracting and expanding, bringing to the fore the concept and dynamics of graphic art. Through the overlapping of its reticulations and its rotation, its simplicity and its convertibility, its complexity and its tractability, the body of writing, as a multicellular organism, becomes a body of a matter that is reconstructed and reconstituted, seeking the authenticity and verisimilitude of its meteoric presence.

Looking at the works of this artist, I feel the unconscious emerging as during dreams. A dream phase that when over, allows us to freely connect words, thoughts and images without restrictions. This is Biagini's true surrealism, which starts from a point and then slowly builds a script around it, following inexhaustible paths. In her works we find a strong imaginative potential, as she leads the deeper self to reach a cognitive state beyond reality, in which waking and dreaming are present and reconcile each other harmoniously. At the same time, with clear and real images, the artist develops forms that are not always decipherable, but wisely interconnected, giving life to enigmatic figures that stimulate emotions and evoke feelings. Marta's mode of expression suggests an analytical capacity towards the surrounding world and those who are part of it. Everything fluctuates through looks and attitudes that are strongly imbued with meaning. In her imaginative images, colour tones and shapes give the work its dominant value. The little refugees look at us expressing a primal pain that questions, that judges and that sweetly condemns our indifference without oppressing. But it leads us to constantly question ourselves and to make a constant re-examination of consciousness. The works are beautiful and meaningful, to look at them, to reflect on them and to hold them in your heart.

The Red Book, by Carl Jung, is an account of the author's inner experiences. A kind of psychological biography. This book is illustrated with many, many drawings made by him. He saw these drawings as an embodiment of his experiences. They were the expression of the "objective soul" i.e. the expression of elements common to all. We know that the artist lives with obsessions. He repeats - again and again - images, symbols and situations that have a particular charge for him. Monomania is his characteristic. So does Marta Biagini. In her previous exhibition on hats, her real concern was the visual articulation of the symbols that the figures wore on their hats. Each figure referred to an image or a stereotype or an archetypal symbol. In her present exhibition she continues this problematic. Her watercolors as well as oils with this theme are a play on the elements of memory. Her writing resembles the automatic writing of the surrealists or the corresponding technique of Cocteau. She therefore begins the drawing with a random point. Slowly she creates forms that lead to archetypal elements of memory. The tower, the window, the staircase are some of them. Of course, this process can also be reversed. To start from a characteristic symbol and then follow with improvisation. In both cases the result should be the same. The heritage of memory that is common to all and exists within us should emerge visually. The process described corresponds to the two levels of memory that the artist receives. On one side there is an instantaneous memory that refers to some kind of form. You draw differently if you are calm, differently if you are angry or sad. It is a kind of a momentary memory, a response to immediate stimuli of the environment and sensations. This level refers to improvisation which varies from work to work depending on the artist's state of anger. But there is also the lasting memory that helps to express the archetypes that the artist seeks to formulate. It accepts the classical meaning of art which is nothing but the free play of the imagination that comes out effortlessly and spontaneously. Whatever his imagination does not forget validates the possibility of being. The asymmetry between reality and imagination is not resolved epistemically but mediated by the power of the imaginary. Her drawings test all the infinite possibilities between the general and the particular, of thinking with imagination based on criteria that are not given a priori on the basis of certain categories but alternate like a game. Biagini focuses on the notion of the whole and of composition. Principles borrowed from architecture. When she paints a tower she is not only interested in presenting a symbol but how it will be integrated together with the elements of improvisation into a whole. The form must be total. The work of art is not a set of parts but is more than its parts. The search for the total image, the gestalt, is her goal.

Many artists who moved within the Surrealist movement used the hat as a subject in their work. Marta Biagini belongs to this tradition. The faces, in her work, wearing hats are depicted without a particular expressiveness. They are not differentiated from one work to another. The expression of the figure is not important. What is important are the symbols they wear on their hats. Each figure refers to an image, stereotypes or situations. Biagini doesn't create full-body figures. The work begins with the depiction of the head. Her works are curious police ID photographs in which the faces are presented with a limited and subtle expressiveness until you raise your gaze a little higher to see the real hidden world they carry. Her symbols: charm and friendliness, motherhood, the feeling of freedom,. The meteoric but also clearly formulated psychoanalytical symbols expressing repression , confinement, sadness and denial but also existential deadlock. Protectiveness, tenderness, fantasy and eroticism, the urban landscape and nature, escape and the feeling of freedom or simply daydreaming are some others. The list can go on indefinitely. The subject becomes a fruitful tool without becoming a mania Because the hat in Biagini's work is the very expression of the human condition.

Every exhibition of Marta Biagini is a surprise. Combining the patience and sensitivity of an archaeologist with the inner wisdom of a psychoanalyst, she brings to light raw material from the depths of her soul and dares to bring it out, to reveal it before our astonished eyes. It is an arduous process. For those who have had the good fortune, as I have, to know her, this struggle, this agony of self-discovery is etched on her face. Those who have not had that luck need only look at her works, a replacement for that struggle. And I'm not just talking about the - often imperceptible - twitches of tension in her figures. Equally eloquent is the silence of the archetypal shapes that surround them. Shapes unreal, exotic, but how else can she form the invisible, the invisible? Her colours - on the earthly scale - are in harmony with the shapes and their charge. A mini colour revolution is happening in her latest works with children. It is perhaps inevitable, the colours of the child's soul are brighter and more optimistic. In a time like the present, when Arthur Danto speaks of the end of art and when art is considered everything that is proposed as art, Marta Biagini's painting shines with its sincerity, its courage, its sensitivity and its painterliness. I leave once again fascinated by her exhibition.