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STATEMENTS
Fabio Porchat
Cultural entrepreneur, writer, curator and exhibition organizer, Director of the Association of Parliamentarians of Brazil and president of the Latin American Academy of Arts (ALA)
"Leila Biscuola is a plastic artist dedicated to sculpture. Art came naturally to this woman who pays so much attention to the world, that it serves as constant food for mental connections that provide her with a raw material of feelings and sensations, main ingredients of your receptive mind.
His sculptures are dense narratives with space, time, plot, character and narrator determined. They are small chronicles that she develops full of details that lead the observer to get lost in the trajectory of the shapes and expressions embedded therein.
She has a look marked by the presence of the human in its best version of humanity: she “gives shape and color and body to all things” and like a poem she sweeps us away because her works embody the beauty of materiality surrounded by ephemerality, but without ever leaving the essence of art communicates directly to the beholder's heart."
Edna Carla Stradioto
Brazilian plastic artist, resident in São José do Rio Preto - SP. In the visual arts, she works with the watercolor technique applied with ink, pastel and other techniques.
He holds a master's degree from UNESP (São José do Rio Preto - SP) and a PhD in Comparative Modernities from the University of Minho (Braga, Portugal), both in the area of illustration. Founder and administrator of Grupo Artrilha, artists creating soundtracks, independent visual artists, partner and editor-in-chief of Artrilha Editora, responsible for creating the projects: Revista Artrilha, Auction Artrilha, Exhibition Catavento, Galeria Artrilha, Prêmio Artrilha, Artrilha Galeria, products Artrilha's licensors and NFT, and many other projects. He is at the forefront of the group and acts directly in the selection, curation, organization, planning, execution and cultural production.
"Leila Biscuola is a plastic artist dedicated to sculpture. Art came naturally to this woman who pays so much attention to the world, that it serves as constant food for mental connections that provide her with a raw material of feelings and sensations, main ingredients of your receptive mind.
His sculptures are dense narratives with space, time, plot, character and narrator determined. They are small chronicles that she develops full of details that lead the observer to get lost in the trajectory of the shapes and expressions embedded therein.
She has a look marked by the presence of the human in its best version of humanity: she “gives shape and color and body to all things” and like a poem she sweeps us away because her works embody the beauty of materiality surrounded by ephemerality, but without ever leaving the essence of art communicates directly to the beholder's heart."
Oscar D'Ambrosio
On the works of the plastic artist, Leila Biscuola through the eyes of Oscar D'Ambrósio, journalist and Master in Visual Arts from the Unesp Institute of Arts, is a member of the International Association of Art Critics (AICA- Brazil Section).
“The work with the valorization of circular shapes and hollows is an important facet of Leila Biscuola's sculptures. The artist develops a visual research characterized by the search for solutions and governed by the concern to find an appropriate language about the mysteries of the body. Whether individually or in pairs, the human silhouette is a recurring theme and has great strength. There is an interaction between the female and male bodies and a constant dialogue between what is internal and what is external, between what is hidden and what can be revealed.
This fascination with the matter we are made of is part of a whole line of thinking that values anatomy not as an absolute truth, but as a necessary tool for a more complete and complex view of what makes us human in terms of form and content. .
Leila Biscuola does not lose sight of the fact that body shaping is a creative act par excellence. The way he treats peers shows his worldview as a constant integration between thought and action and, above all, between seeing the world, feeling its presence and transforming these two factors into works of art. ”
Zilpa Magalhães
Zilpa Magalhães has a master's degree in Education from Universidade Nove de Julho, Art/Educator graduated from Centro Universitário de Belas Artes de São Paulo, with a degree and qualification in Visual Arts. Furthermore, he has directed the Escola de Arte: “ZiArte-Viveka”, since 1989.
According to Zilpa Magalhães, the sculpture, Raízes, is a symbol of the human form, which has no head and arms. The same happens with Poder, a work that had a great impact on the young audience during an exhibition at the Casa de Cultura da Penha, São Paulo. That is, the planet Earth, raised in a gesture of strength like a cup of victory, is rotting. Still, the continents detach themselves from the globe, pointing to the base, and what at first could be just an ecological manifesto ends up transforming into an awareness of a power, not of the great nations and rulers, but in what we face on a daily basis. day. The artistic composition, Poder, has become a collection of the museum of the Legislative Assembly of the State of São Paulo since 2013. The sculpture, Flor de Liz, brings the balance of three characters who come together in harmony, supported by two feet. that support the set very lightly, symbolizing the three faces of the goddess: Maiden, Mother and Crone, or beauty, tenderness and wisdom.
Massarani
Art Critic, Writer, Director General of the Museum of Art of the Parliament of São Paulo, President of the Institute for the Recovery of Historic Heritage of São Paulo and Superintendent of Cultural Heritage of the Legislative Assembly of the State of São Paulo.
According to the critic Emanuel von Lauenstein Massarani, Leila Biscuola's sculptures evolve through constructed forms and potentials, opening the dynamics of spaces and generating the meanings and values of the image from the elementary articulation. For him, the artist measures in substance the level of her own cultural expressiveness in the work donated, "O Poder", to the Museum of Art of the Parliament of São Paulo.
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Andréa Vistué
Master in Psychology and the Construction of Knowledge, Specialist in Clinical Psychology and Psychodiagnosis; Psychotherapist and Clinical Supervisor of Analytical Orientation - CRP 06/38208-2; Professor and university clinical supervisor, Postgraduate Professor in Analytical Psychology at OPUS, at FACIS, Instituto Freedom; Speaker, Coordinator of Study Groups on Analytical Psychology and Mythologies; Founder and Director of the Casa Jatobá Institute: Psychology, Art, Culture and Research; and the Social Clinic of Casa Jatobá.
The work of art is the result of a delicate and laborious process that starts with the artist and ends in the transforming character of its composition. The sculptor's artistic work comes from her skilled hands and techniques improved over the last 30 years, a creative process that emerges from the artist's soul, giving shape to different materials, such as clay, marble, cement; transforming them into vigorous and expressive creations. In the second moment, when the work is ready, the naming takes place, that is, the search for a term that translates the creative impulse that gave rise to it and the final form, which often imposes itself, regardless of the artist's effort, which at the same time over time he learned to respect the creature's intrinsic desire. The baptism of the work takes place at the time of public exhibition, being submitted to the gaze of the appreciator. At this moment, the artistic work takes on a sacred aspect, being recognized in its aesthetic value and touching the soul of those who observe it, generating processes of transformation through contact with the symbolic aspects represented in it. The work takes on a life of its own and no longer belongs to the artist, who has no control over the effects of the interaction between the audience and the work of art.
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