by Oscar D'Ambrosio
Light is a fundamental element of the visual arts. The way it relates to a work decisively changes its color and directly interferes with observation. This variable becomes the primordial factor of Rose Perussi's pieces. The incidence of luminosity changes her work precisely because her greatest concern is not so much the end result, but the process.
When dealing with materials such as canvas, copper, tin and paints, she establishes among these elements a visual thought that has engraving as a fundamental element of reasoning. By using the burin to interfere with the metal, it establishes a universe of mysteries in which the fascination is not in a probable impression, but in the plate generated by the work itself.
The method of creation is so particular and arises from such personal research that Master Mario Gruber ( Brazil) called it Oribombo. The name, which carries a sound effect that refers to the indigenous universe, including in the sense of valuing the intuition of doing, can not be seen as limiting, but as the beginning of an unfolding of possibilities.
Drawing from the design, planning fragmentations, verifying how metal can be inserted in certain areas and combining this work with painting effects that seek to value the dialogue between the elements, the artist offers well articulated compositions. It is a fusion between the dexterity of thinking and the practice of creating.
The presence of the figure, whether of women, suggested fish or flower pots constitutes much more than a figurative research. There is a search for a reference in which the effects sought by the multiple alternatives of luminosity reach infinite nuances, ranging from the most evident delineation of the figure to its near disappearance due to the metal plates that light or extinguish according to the luminous angulations .
Rose Perussi achieves in her research a rigorous chameleon effect of successive transformations in function of the environment. Her research fascinates precisely because it is a process of constant evolution towards the effects that best reach the plastic goals of a restless visual investigator, who does not tire of experimenting and creating.
Oscar D'Ambrosio, journalist and master in Visual Arts at the UNESP Institute of Arts, is part of the International Association of Art Critics (AICA- Brazil Section).