VICTORIA STAGNI'S ART IN A TRADITION OF NAÏVE PAINTING OF THE NINETEENTH CENTURY

"Victoria Stagni's work consists primarily of representing the living from a human subject that she immerses in a dreamlike composition. And if the artist often chooses the self-portrait to do so, it is because, like Frida Khalo, she is "the subject that [she] knows best".

By Balthazar Malevolent

VICTORIA STAGNI'S ART IN A TRADITION OF NAÏVE PAINTING OF THE NINETEENTH CENTURY

Born in Buenos-Aires of a Paraguayan father and an Argentinian mother, Victoria Stagni apprenticed in oil painting with Pierre Lafage (graduate of the Beaux-arts of Paris and Bordeaux) within the Atelier of the Beaux-arts de Bordeaux. At the same time, she set up her workshop in the Bordeaux district of Chartrons.

Since 2015, Victoria has been part of the international artist collective "Human Beings, What Unifies Us?" composed of Cuban, European and American painters, sculptors and photographers. This collective was created following the reopening of relations between the United States and Cuba and aims to propagate beauty and peace in a sense of brotherhood.

"Victoria Stagni's work consists primarily of representing the living from a human subject that she immerses in a dreamlike composition. And if the artist often chooses the self-portrait to do so, it is because, like Frida Khalo, she is "the subject that [she] knows best".

The artist uses the dream to be completely free. On the web, she can authorize everything she wants to evoke the mystery of the world. When she creates, Victoria Stagni looks for images that will surprise and enchant, even if this dream is on the verge of a nightmare. It is concerned primarily with the image as such, its inexplicable nature, rather than the idea.

In the end, through her painting, Victoria Stagni seeks to share her sense of belonging to an enigmatic and wonderful world.

Her subjects are feminine because the image of a woman's body or face is spontaneously imposed on her face to the canvas. Thus, his painting is deeply feminine, even feminist. When it is not a question of herself, she likes to paint strong women, sure of them, mistresses of their destinies.

Her relationship to painting is sensory and sensual. Before starting a new painting, the painter takes particular care in the choice of colors. The latter, by their brilliance and vivacity, retranscribe his feelings and sensations and give their equilibrium to his creations. As Matisse said: "I feel the paintings by the colors, it is according to the colors that my paintings are organized".

Victoria Stagni finds animals fascinating because, according to her, their graphic power is unparalleled. Vectors of poetry and mystery, they feed her paintings. All inspires her at home. With hairs, feathers or scales, their beauty is immediately obvious. Friendly or threatening, she plays with them, with their looks, their expressions, their postures. For her, they are wonderful intercessors with symbolic and sometimes political significance. In fact, too often despised by Man because of their mysterious and misunderstood intelligence, animals are constantly suffering and are threatened because of our civilization. Thus, in her paintings, the artist feels the urgency to celebrate our common nature, to restore this vital link between beings. Just like our ancestors, who already painted a marvelous bestiary on cave walls in the light of a flickering flame, Victoria Stagni has the greatest respect for those of whom we share the reign. They are her totems, her divinities."

Victoria Stagni

In other news, Rick Owens Fall 2021 fashion show. On the subject of underthings, the pentagram briefs from the January men’s show reappeared here wrapped around evening clutches, the implication being that these alien females had handled the “unhinged male aggression” that those briefs signified.

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