My research field has been painting about the concept of illusionism. I pursued the conceptual process that the work produces in the spectator’s mind, and not its value as a shape. I’d like to give the result of consideration about knowledge of painting nature and what that nature shows. The intention of detailed painting has not been to push the representation to its extreme limits, but to investigate the fundaments of the representation. From an already tested realism (thinking at early works) I moved to conventionalism in the tecnical terms, moving towerd a realistic abstraction. This way of thinking about my images represent, springed from reflection about Hyperrealism, an american artistic current, as the starting point of my historical interest. Hyperrealism is situated on an extreme of a virtual line along which there are all the expressive ways and the possible configurations of painting. Opposite to Hyperrealism, on the other extreme of the line, is abstraction. Two forms of art at the extremes. If this line is brought back to a circle, the poles should touch one each other, joined in their being and case. For this reason I underlined the abstract nature of Hyperrealism and the systematic conventionality of signs that determine the figures, in their turn realist. The selected subjects come from the particular attention about any aspects of reality: particulars of a car, often degrading, black air balloons enchained to each other by a net, incandescent small lamps, wasted balloons. They are all details of a world which speaks about the past, sometimes in a nostalgic way, things used and then thrown away, residues of life that remember the human passage, indelible tracks of their daily life. The creation born from photography, through which I bring the external world in my studio, where I elaborate mentally and visibly the material at command. It never is a question of a simple copy of a photograph, but it’s a moving rivisitation of what cals my attention and stirs my curiosity. I have a predisposition to analyse details, both in life and in painting. For this reason, in my pictures, each feature is accurately focalizated. Art is delight, amusement, pleasure; I find all this in painting and much more in the idea to see the persistence of manual activity in this super-machanized era, in which all is technological.
She concentrated afterwards her activity in Germany in the sector of design and creation in multi-media communication. Hamburg will be during more than 20 years her harbor of work and the most productive and creative years of her career under the leadership of several international companies.
She recently established her residence in Lucca in Tuscany.
Ilaria Morganti was born in Rome on October 10th, 1975. Since early childhood she showed an interest for art and vision representation methods. She learned fundamental drawing and painting rules from her father, who is a painter too, and from her grandfather, a known decorator of churches. She matured this interest, through the choices of her studies. She attended the artistic high school in Frosinone and continued her studies at the Academy of Fine Arts, where she acquired 1st and 2nd level and the licence to teach. She cultivated her passion year in and year out, experimenting techniques on different subjects through determination and continuous efforts, even during her art studies. At the beginning she was inspired by the masterpieces of great historical painters (Leonardo, Michelangelo, Rembrandt, Caravaggio, Murillo, Boldini, Durer), subsequently interpreted photography. To increase and improve her artistic experience, she partecipated in national and international art exhibitions and painting competitions which allowed her to compare her work with other artistsand to experience exhibition spaces. The artistic level achieved is the result of manual and conceptual work, and undeniably long lasting. Her artistic activity keeps her busy all day since her paintings are rich in precise and minute detail.
© Ilaria Morganti
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