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| Regiane yuki sabanai presents Barbara Hangan |
| Lisa Melisa |
| Emmanuel The One Loved By God |
Occasionally, in moments of grace, painting becomes incantation. In
such a favored moment, the lavish spectacle of color gamut, hues, tint
drawings, semitones and fine writing may reveal an alternative world
which is no longer in propriety of the art of painting. In privileged instants
of the like, the figurative idiom is pervaded by some unfamiliar
languages, pulsing to fit different rhythms, and ruffled by unknown
effluvia. The paintings of Barbara pave the way towards such an
adventure, in an imaginary realm of eerie beauty. Separated from us by
sumptuous frames, spectacular artistry in themselves, unsettling
characters show up in ceremony and banquet halls, with the slow motion
of sepulchral butterflies. They seem to emerge from the innermost
depths of the waters that once were reflecting Narcissus, the magic
water which dissolved the mortal self to preserve just the mirror-face.
such a favored moment, the lavish spectacle of color gamut, hues, tint
drawings, semitones and fine writing may reveal an alternative world
which is no longer in propriety of the art of painting. In privileged instants
of the like, the figurative idiom is pervaded by some unfamiliar
languages, pulsing to fit different rhythms, and ruffled by unknown
effluvia. The paintings of Barbara pave the way towards such an
adventure, in an imaginary realm of eerie beauty. Separated from us by
sumptuous frames, spectacular artistry in themselves, unsettling
characters show up in ceremony and banquet halls, with the slow motion
of sepulchral butterflies. They seem to emerge from the innermost
depths of the waters that once were reflecting Narcissus, the magic
water which dissolved the mortal self to preserve just the mirror-face.
A similar fate seems to bond also the personages depicted by Barbara: they are also enchanted by their own splendor,
sparse in their own airiness; they are approaching us from the dreamy world, displaying their mirror-face, so that we could
recognize our own self in them. Thus, the faces become fairy tales with a meaning enciphered in the drawing calligraphy, in
the comeliness of gestures, in the ambiguity of expressions.
sparse in their own airiness; they are approaching us from the dreamy world, displaying their mirror-face, so that we could
recognize our own self in them. Thus, the faces become fairy tales with a meaning enciphered in the drawing calligraphy, in
the comeliness of gestures, in the ambiguity of expressions.
| Hatschepsut |
| Landscape |
Perhaps this is why the figures that Barbara is depicting bear that particular melancholic gaze which is so characteristic of
the “fin de siècle” zeitgeist, that peculiar aristocratic abandonment which may be just at times gracefully veiled by the shade
of a smile. Nightly glimpses and overwhelming gestures, shrouded in silk, velvet and lace, add further value to the
transparent skins...( Ramona Novicov)
the “fin de siècle” zeitgeist, that peculiar aristocratic abandonment which may be just at times gracefully veiled by the shade
of a smile. Nightly glimpses and overwhelming gestures, shrouded in silk, velvet and lace, add further value to the
transparent skins...( Ramona Novicov)
| Medeea |
| Nueva Fidelidad |
| Playing The Cello Waiting For You |
| Saho Wearing Burberry |
| The 99th Anniversary |
| The Girl With Water Lily Bosoms |
| The Night Before |
| Zara The Unfaithful |
| Zena |
| Death As a Forget Me Not Flower |