Giovanna Mancuso

Mancuso Giovanna lives in Cormano, in 2009 she was fascinated by the transparency of a watercolor seen by chance and began to paint as a self-taught, and then became a pupil of Maurizia Perico, Gabriella Musajo, Renata Bonzo, Paolo Fabbro and Davide Parenti. He followed the work shops of Nadia Tognazzo and Fernando Cavalieri.

Since 2014 he has also tried to perfect himself in drawing under the guidance of master Paolo Fabbro and Eligio Bossetti.

He teaches with passion to kindergarten and elementary school children.

In 2013 he won the first prize in the competition of the Madonna of the pillar in Bresso.

In 2015 and 2016 he won the prize for the best executive technique in the Color and Matter competition at the Click Art gallery in Cormano (MI)

Since 2017, he has been teaching at the Pro Loco of Cormano

Giovanna Mancuso. The magic in detail.
Giovanna Mancuso's works have the charm of a simplicity of the past, but that
behind their apparent ease they hint at an articulated and clear vision of reality.
A precision that of Giovanna Mancuso to go so deep as to grasp this
behind the image of a flower rather than a landscape. That is its history.
And it is precisely this ability to retrospectively probe reality that gives substance
to the production of this artist. The mark of the brush, soaked in color and dipped in water,
it is therefore not a simple feature, but an element of an imaginary plastic construction
that the artist places on paper, where the "third dimension" is not width or lo
thickness, but what happened. A temporal dimension therefore that corroborates the
vision of the present. This is perceived in certain "postcards" of countries or glimpses of
landscapes where the representation is so clear and skilful that it is natural to immerse oneself
in the atmosphere from which these images arose. Giovanna Mancuso does not stop at the evocation of a past reality, but tries to interpret it, decode it. Hence the need to go down to the level of writing, in the literal sense of the term. As if behind an image there was a complex symbology, not so dissimilar from that of the programming languages ​​that encode the images visible on a computer. This is the meaning of the artist's research on oriental calligraphy, where the ideogram is not the point of arrival but of departure, of a path aimed at grasping the quintessence of what animates a vision.
It is no coincidence that the artist's attention was directed to the writing belonging to
a world so remote and distant, geographically and culturally, like that of Zen and
Shodo. As if only thanks to an absolute distancing, a sort of mental reset,
it was possible to fully account for the inner life of what is close to us. It is so
that a poppy or an old tram become a metaphor for a precious world from
preserve, at least on paper, before it's too late.

Paolo Avanzi