The chromatic delirium of Antoaneta Dzoni
by Tommaso Paloscia
Complex images for concepts which express tales both ancient and new, narrated in great spaces, where within their borders, one can make out presences which range from the religious to the esoteric. The colors that vary in shade and tone always lead back, if not disconcertingly, to a harmony which is more musical than picturesque. This is how the work of Antoaneta Dzoni appears to my eye. Having come to Siena in order to study, she brought with her something of the Byzantine which conditions her visual expression, whether it be the iconography that outlines the indissolubility of the memory from the Middle Eastern approach to the solutions of form, or that very pleasing carpet of petals which are the tesserae of a fantastic recurrent mosaic.
Sometimes the image cancels the detail drowning it in aggitated skies like waves of the ocean where the masses of blues or reds or yellows recur in tempests provoked by the imaginary, all under the watch of an enormous eye which scrutinizes imperiously but does not intimidate. Scenes of chromatic delirium can suddenly subside, seemingly astonished as they gather around a nude figure which blooms amidst the flowers of a fantasy landscape, or predisposed as cuttings which fit together, as would pieces of a puzzle, in a delicate composition. The scrutinizing eye is almost everywhere, an ambiguous symbol of the existence of a mysterious concerted pact beyond the human realm. Pretexts for progressive painting whose master is color and whose sign furtively takes the shape of an improvised scene. So it is for a tapestry or a carpet, always reborn for formal inventions.