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Artist Licia Sanna

I’ve always been fond of drawing but it’s only at the age of thirty-one that I approach painting when some brushes, a canvas, some oil colors and an easel were brought home and as a game I sketched the first two women (picture that in the original drawing doesn’t exist anymore). Two more paintings were painted before I decide to learn a technique. I bought painting handbook -which proved to be useless- and for ages I grappled with the practice of drawing of naked bodies and of the portraits, then moving to pastels, to the cinchona, watercolor, but in truth I was not attracted by these techniques.

When I turned to oil painting again, my thought( just like today) will be addressed to classics, source of inexhaustible/endless inspiration from the structure and the composition point of view.The objects that affected me most are the stretching hand, the face expression while it watches far away, a forgotten object in the corner of the painting , these features are fundamental to give life to a new subject where other characters, those of my fantasy, find room and take life in a modern context.

I love telling stories about women, their natural passions, charms, virtues and irony. For a long time I’ve been inspired only by the women of my family, with their apparent strict attitude but anyway lovely, whose strictness was “an armour” in order to obtain authority and respect. Women proud of their authenticity, linked to tradition, careful to the form, lovers of popular sayings, rich of popular wisdom, who allow me to analyze their psychology, to reveal them highlighting their presence and their role in the everyday life.

I consider this a privilege, that I discreetly had and maintained in silence as their quiet presence characterized by looks. These women are similar to those I had the fortune to meet around the world, women who I have seen in India, evanescent women figures as if they were wrapped by fog or in Africa where sweetly fading in the horizon of the desert or in Cuba where in every face I could find myself or in Turkey and several other places where I could breathe the essence of the worlds that despite the cultural differences that separate are all the mirror of the other.

It is as if from the soul of every women new legendary feelings, suggestions were born which are found in everyday important as well as simple and apparently ordinary gestures.

Women who sweep, who iron, who play cards, sometimes shabby, sometimes elegant and others in an extraordinary eclecticism, but always quiet women, certainly melancholic, absorbed in a world that doesn’t exist with an almost metaphysical separation. Sometimes I’m told not to be contemporary and to live outside time, but in truth what I like to think is that while I’m painting I am expressing an admiration for the female image that tirelessly supports the world bearing its weight and violence, through a kind of painting that I love to think it’s also poetry.