Carmelo Strano

Feuei Tola unwittingly pursued an artistic and poetic maturation activity playing a derby.
She was born in Sicily, and graduated in Decoration from the Academy of Fine Arts in Palermo.
Immediately she moved to Barcelona , where in the Faculty of Fine Arts she followed the Master in Artistic Creation and the Doctorate La Realidad Asedio i Posicionamientos creativos.
After living for years in Spain, she returns to Italy, settling in Milan. The mix of Sicily and Spain causes an expansion of the existential and professional horizon and, at the same time, given the cultural and anthropological proximity of the two geographical areas, a strengthening and deepening.
Barcelona, ​​since the 1980s, has established itself in Europe as an interesting cultural reference, notably architecture (the emblematic figure of Oriol Bohigas) and visual arts in general. Tola did not absorb this climate, albeit lively, but she was very stimulated by it. Eben though these incidences are not immediately grasped, Spain has stimulated her in a generally cultural sense.
A decisive condition, because the artist loves forays into other areas such as literature, psychology and sociology.
The path of her production reflects these articulated formative processes. Painting, sculpture, of course. They are characterized by a tenacious expressive force, by a certain gesture, even if Tola does not abandon the figurative trace (in this I observe an involuntary proximity to my concept of an Elliptical Opera). Without this the artist would have been, but anachronistically, a true informal. But I feel like saying that the top of her research is in installations. It is in this typology that you produce iconographic results, manipulations of various materials and a theoretical-formal process in the name of full originality. Synergistic and sympathetic are the paintings of a sign type, but with a liberating even if very polite sign. In the installations the recurring material is the X-ray plate, sometimes even of her body. It combines, with captivating elegance, with other materials. An image is created, certainly articulated, but strongly unitary, so much so that it is grasped, at first, with a glance, to investigate it immediately afterwards in its various parts. Black and red, accomplices plays of light and chiaroscuro, collude with sure seductive harmony in favor of a robust expressive result. A true artistic proposal that starts from the derby ground but is intercultural.




(Aesthetic contemplation as an experience that descends into the phenomenology of everyday life.

Aesthetics no longer thinking of art as an exclusive fact of aesthetic contemplation, but as an experience that descends into the phenomenology of everyday life.
Feuei Tola gives spatiality and temporality to her emotional impulses. But these are never explicit, they blend into the life of the materials and colors and of the installation articulation. Cogli)