Yet the song of the sirens acts and liberates. Like the bodies of fish-women, the erotic dance of the ballerinas, a synthesis of sense and reason, elevates sexuality from the bestial to the superhuman.
Flaminia Veronesi
Simultaneously with the opening of the Copley exhibition, Tommaso Calabro inaugurates its contemporary art program in the Milan gallery with a Project Room dedicated to Flaminia Veronesi (Milan, 1986).
A multifaceted artist, Veronesi, makes her debut at Tommaso Calabro with an installation project combining wall-painting, paintings and textiles.
When asked to confront with a production as lively and provocative as that of William N. Copley (1919-1996), Veronesi responds with comparable expressive freedom.
For the artist, the nude female body, which is the protagonist of the works on view, shies away from the rigidity of political correctness to find in the surreal and the playful a renewed, powerful self-awareness.
In this way, Veronesi weaves connections between Copley and her Tette fotoniche (Photonic tits) and the acrylics of the Look at Me series, in which the artist transforms nightclub dancers into dancing sirens, charged with dream and eroticism.
From Copley to Popplay.
