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Hidden Entities


Published on the occasion of:

Hidden Entities



17 December 2011

20 January 2012

Via Marino Freccia 72

84127 - Salerno


Published works: 25

Critical text : Simone Bertolini

Hidden Entities

Simone Bertolini

Rabarama's figures have a skin which is  rich in signs and symbols. They seem to be eternal and live in an existential dimension nearer to the world of ideas than to reality.

The tragedy of these men wears out in this limbo. They cannot free themselves from the tissue which covers them up, neither with their strength nor with the help of the careless spectator.

The burden of their skin does not turn into a precise conceptualism: it is evocative matter with a communicative dimension which has vague outlines and is vast and strong for the espressive nature of each symbol.

Some of these figures cannot react to this condition and retire into themselves. They strike crouching poses resigning themselves to their fate, while other figures do not care about their particular nature and let the human element live in a gesture, a movement or, quoting the titles of the artist's work, in a transport or rotation.

In those rare cases when a figure is partially able to take its symbolic mantle off with very dinamic gestures, it communicates more its need of hope than its wish for freedom.

Thanks to a deeper and sensitive analysis we can catch the underlying theme of the artist's work, characterized by a strong love and sweetness, just like the ones intrinsecally conveyed from a mother  to her children.

The act of love giving life to Rabarama's creative process is completed when she gives these figures  a particularly rich and fascinating dimension which works as an armour and a defence against the inquiring and judging eyes of potential marauders.

The chameleonic camouflage the artist gives his works allows them to mingle with the symbols and conventions which recur in our mind and have a great deal of interpretations.

Rabarama unconsciounsly gives her creatures a gift which allows them to preserve the most intimate is under their skin.

Actually she clearly asks the careful and sensitive spectator to go beyond what is visible by sending a terribly topical message.

As an artist of our time, Rabarama expresses the contemporary man's difficulty in finding the right dimension where to live his human nature with spontaneity and enucleating it from everything else.

We prefer hiding ourselves, feeling we are part of something, following passing fashion, taking shelter from every kind of judgement, without realizing we do not nead an armour-skin to move and be respected as we are definite and extraordinarily fascinating entites.

The contemporany man becomes more a symbol than a human being by classifying himself and all the other men in some categories which do not do justice to his ontological potentialities.

The sensitivity of Rabarama's work is based just on the freedom of inquiry we have when we try to look into her product of love.

The artist lets us free to analize, appreciate, praise and look into her works, so she gives us the key to reassess and free our condition from the outward appearance, without excluding it, but giving it the right value as to what really counts.

We are free to express our opinion and see whatever we want in these creations, or rather we must do it in the hope of catching the frailty and the infinite sweetness of  human condition by going beyond appearances and symbols.