Luna Berlusconi, aka Luna, was born in Milan on August 2, 1975. From childhood she expressed a great interest in art and photography.  As a self taught artist, in 1998, she had the great honor of working as the personal assistant to Gino De Dominicis.  From him, she was able to learn and absorb several important techniques that she still employs today. In 2010 his first personal photographic Sguardi di Luna arrives: touching story of the children of the Korogocho slum in Kenya. In 2018, having reached his artistic maturity, he began to exhibit his works, which soon became collectors’ interest. She displayed her work at Mecenart at the Officine del Volo in Milan and at the Carrara Expo at the Marina di Carrara Port.

TECHNIQUE

Luna strives for a “non-technique”: the use of sometimes linear strokes of color–which are oftentimes repeated in an unorganized way–to leave purposely visible marks. But color does not follow through thereby giving a sense of three-dimensionalism. Magnets mixed with acrylic paint are used to bring life to the wooden panels as well as to embrace the image, as if from an undefined conceptual figure emerges one that is too defined and exaggerated. To her, magnetism is not simply physical but also conceptual, visible, for example, in the gazing eyes in her portraits.

CRITIC

“Historically speaking, humankind and the artist have been in search of light. They have been searching for the brilliance of cognitive knowledge and instinctive awareness. Following Caravaggio, light no longer had secrets. But what if we wanted to know what comes next? And what if we look to the beyond for answers to our existential questions? The artist’s work is structured there, beginning precisely from “chiaroscuro”: almost like a negative, with its dark and abstract background, figures stand out, faces and forms take shape before our eyes as if they have been illuminated for the first time in ages. Or perhaps they are being reimagined in the darkness that hides and conceals. And so comes forth images, that while familiar, are presented in a temporal space that is devoid of time. But perhaps, this is why they appear so precise. In some of the pieces color, both rare and precious, seems to erupt onto the figures, it erodes all certainty and deprives the composition of stability. In other pieces, it’s secondary elements which have taken on leading roles.”

Exhibitions:

• Mecenart – Officine del Volo, Milan: April 2018
• Fiera della casa e dell’arte – Polo fieristico, Marina di Carrara: May 2018
• Magnetica – Mostra collettiva “Arti Insolite” – Lajatico: July / September 2018
• Galleria Laura Tartarelli Contemporary art – Pietrasanta: October / November 2018
• SuperStudio – Lugano: December 2018 / January 2019