Cecilia Felici這次在中國展出的作品突出展現(xiàn)了 “中國緣”（通過朋友建立了與中國的緣分）對藝術(shù)家的影響，中國對西方來說，直到幾年前還顯得遙遠而難以接近，可是在上世紀的六七十年代的意大利“鉛華時代” （當時在意大利轟轟烈烈的學(xué)潮運動中，在政治宣傳中中國曾經(jīng)是很多意大利年輕人的革命偶像）中，中國曾經(jīng)是那樣的“近”，如今又因為不可思議的經(jīng)濟和文化交流而讓人觸手可及。這種情形可以讓我們進行對比，讓人們更好地了解兩國的現(xiàn)實情況，找出其中非凡的共同之處。
These works Cecilia Felici presents in China highlight the influence that the occasion has had to the artist. China, until recently far away and inaccessible to the West, "close" as a propaganda slogan in our problematic and hard "years of lead", is now "at hand" for economic and cultural exchanges? that were unthinkable just some years ago. This leads us to make comparisons, to learn more about our two companies and tracking the extraordinary similarities.
Cecilia Felici的作品，如同視覺詩歌一般參與我們的新先鋒派體驗，并從某種程度上與中國畫淡雅的色彩相呼應(yīng)，畫面上的漢字又恰恰展現(xiàn)了這種文字的特點---文字與圖畫的組合。這一點同樣也是意大利上世紀六七十年代新先鋒派的基礎(chǔ)，也同樣出現(xiàn)在Cecilia Felici的作品中，正如我們的拉丁文化先祖所言：“詩歌如畫一般”，他們也留下了許多典范。
The works of Cecilia Felici, based on experience of our new avant-garde such as visual poetry, marry perfectly with the taste for the clarity of the colors of Chinese painting and writing, and with the ideograms that represent precisely the link between writing and imageThis is the cornerstone of the new avant-garde Italian Sixties and Seventies that can be found in the works of Cecilia Felici. "Like painting, poetry," said already our ancient Romans, who have left a lot of evidence for this assertion specimens.
而在這位藝術(shù)家的作品上，文字，圖形合為一體，組成富有詩意的畫作，而色彩又成為解讀這些作品的關(guān)鍵所在。
The graphic then merges the iconic sign to create a single text, visual and poetic at the same time, especially taking shape in color, one of the most identifiable figures of the artist.
總之色彩是這位藝術(shù)家在她生活的海濱小城Sperlonga舉辦的個人畫展的主題，其作品中的色彩睿智地“聯(lián)合”在一起，而不是拼湊。這些作品中用以描繪海洋的棕紅色、天空的藍色和不同尋常的黃色，都讓人聯(lián)想到類似高更作品風(fēng)格的超現(xiàn)實色彩。
Colour, then: the colors, rather, already players in the exhibition held in Sperlonga, the seaside town where the artist lives. The colors "united" not dissonant, but cleverly combined. Colors of a type of gaughenian surrealism, distorting the reality of a sea salmon pink or a sky not only trivialy blue , but yellow, as in some summer sunsets.
“為中國的作品” 中，中國的風(fēng)景微妙而帶有夢幻般的色彩，空幻般的樹木向空中釋放淡雅的紫色，而在“漢字”中，如前所述，借助這種將文字和圖形（包括意大利的和中國的）完美結(jié)合為一體的符號背景，融合報紙和屏幕上常見的著名接吻圖片，傳達出和平、友愛和勝利的樂觀信息。
In the “Opere per la Cina” the Chinese landscape is seen gently and with invention of color, as in a dream: small trees from aerial roots floating in space delicately colored in purple. In "Ideograms", which marks the highest point of conjunction, as we have said, between writing and painting, as both Italian and Chinese, the background is complicated instead from collages with pieces of paper and photos illustrating the famous kisses of our screen in a optimistical palingenesis that calls for peace, love and victory.
中意兩國之間的接觸在“中國簡報”中變得更加密切，其中有關(guān)中國的最新消息、新聞標題用混合技術(shù)組合在一起，形成一種由急迫感、旋轉(zhuǎn)的速度產(chǎn)生的視覺源。這一切的視覺感受不僅有趣，越接近作品就越能看清一些細節(jié)：如在中國很知名的Armani廣告，紅色政權(quán)的政治標題，風(fēng)水，走秀的中國模特，兵馬俑以及上海的未來派都市風(fēng)景。
The contacts between the two countries become even closer in “Abstract China”, where the latest news, photos, titles for China are crowded with mixed media and create an urgency, a rotational speed, thus generating an Optical source illusion. But not only visual aspect of everything is interesting: more closer to the work, you can identify the Armani advertising, well known in China, the political articles on New Power Red, Feng Shui, Chinese models on the catwalk, the soldiers clay until the futuristic sky-line in Shanghai.
在用深色皮繩和淺色棉線制成的“陰陽魚”中，一群魚組成了一個經(jīng)典的球形圖案，在漁民們的眼中是“打漁的大好時機”，而在作品中卻演變成了陰陽組合的和諧圖案，代表著愛情。在這幅作品中同樣能夠看到三維球體所展現(xiàn)的圓形運動。
In the “Pesciolini yng yang”, made with a string of dark leather and a white cotton, in middle of the sea a school of fish takes the classic spherical form called by the fishermen "the mangianza", fierce and dramatic moment of life at sea that here, instead, generate the design of harmony, masculine and feminine union, love. Even in this case, the optical illusion shows the movement in the circularity of this three-dimensional sphere.
超現(xiàn)實主義“找到對象（Objets trouves）”典型的偶然性，海濱找到的木片，玻璃等等，與這位藝術(shù)家精確的規(guī)劃和對色彩、對政治的敏感組合在一起，必將在將來有更大的發(fā)展空間。
The randomness of “objets trouvés” typical of Surrealism, the sticks found on the beach, glass, joins the project and the precise color sensibility and political interest of this artist whose work announces further developments.
CECILIA FELICI was born in the Italian capital, Rome, on February 8 1956.
She earned a degree in Contemporary Architecture at the University of Rome.
Since her final years at school, Cecilia has been studying artistic ceramics and she uses the traditional lathe to produce several different kinds of pottery.
Her production included a wide variety of objects for domestic use as? well as? interior design.
In 1980 year she took part in the International Art Festival held in the picturesque town of Spoleto in the central Italian region of Umbria.
She has also participated in the“Festival of“Women Handicraft”held in the historic quarter of Trastevere in Rome where she displayed her artistic creations.
For several years she worked as an art director in advertising and an executive for several communication companies as "Pubblicitari Riuniti" e "PVC". ( as a consultant perhaps?)
In the year 2000, Cecilia founded an artistic workshop where she created and displayed her art: various paintings (using acrylic material), interior design, and furniture design.
In her small workshop Cecilia designed and created house furnishings in the popular Art Deco style.
During this very creative period, Cecilia was involved in the? restoration and decoration of pubs, bars, restaurants and private apartments.
She also created a new jewellery line that she named“Sea's Gems”, made of pearl and sea shells, mother of pearls, gemstones and silver.
In 2009 she moved to her new home of Santa Maria, on the island of Capo Verde Island near Senegal, where she dedicated herself to the teaching of creative arts and displayed her“Sea Gems”creations in the Cultural Center of Santa Maria.
In 2012 she returned to Italy and now lives in Sperlonga, a small seaside tourist village on the southern coast between Rome and Naples.
In July 2012 Cecilia exhibited her works in Sperlonga in a show entitled“United Colors of Sperlonga”.
? ? ? ? ? ? ? 著名意大利評論家:Paolo Guzzi
Luna?從事跨國企業(yè)管理與文化藝術(shù)交流活動數(shù)年，因其在意大利及美國公司任職的經(jīng)歷，與國外及國內(nèi)畫廊保持著很好的合作關(guān)系，接觸北京及國外的多位知名藝術(shù)家，形成個人獨特審美視角并積累了豐富的藝術(shù)策劃及推廣經(jīng)驗。
希望愛好藝術(shù)的朋友們，多多指教，并分享給更多的朋友，最重要的是記得評論與點贊哦，謝謝！
