Silvy Favero, Mother Nature, 2020s, Acrylic on Canvas

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Silvy Favero MADRE NATURA, 2024 Acrylic on canvas 100 × 100 cm Visual Narrative — Mother Nature In Mother Nature, … Read more Silvy Favero MADRE NATURA, 2024 Acrylic on canvas 100 × 100 cm Visual Narrative — Mother Nature In Mother Nature, Silvy Favero does not describe a landscape: she conveys its primal energy. The canvas is living matter, constantly in motion, where green, pale blue, deep blue and white meet like water, leaves, sky, roots and light. The painted surface is dense and layered; gestures overlap, open up and recede, evoking a nature that is not ordered but generative, powerful and at times secret. At the centre, a pale form seems to emerge from the chromatic weave: it may suggest a presence, a birth, or the very figure of a mother who both protects and releases the forces of the world. There is no defined scene, nor a reassuring horizon. The viewer is invited to search within the painting, as in a dense forest or in water crossed by light. Each detail may evoke a leaf, a flower, a rock or a current, yet nothing allows itself to be fully fixed. For the artist, nature is not merely what surrounds us: it is a memory older than ourselves, a presence capable of creating, transforming and beginning again. Mother Nature thus becomes a tribute to its fertile, unpredictable force—to the beauty that arises precisely from change. In this interweaving of colour and matter, nature appears as a great mother: welcoming yet restless, generous yet untameable. Silvy Favero Artistic Profile The painting of Silvy Favero begins with an apparently simple and, precisely for this reason, radical choice: to reduce the palette to its essence. Green, red, yellow, white. Primary or basic colours, used not as pure fields, but as living matter — mixed, crossed, rippled, raised. It is within this apparent limitation that the artist finds her space of freedom. Favero does not seek complexity through accumulation, but through the depth of the surface. Each painting seems to begin with a dominant colour, almost with an absolute decision: the yellow of the desert, the green of vegetation, the red of an inner energy. But that colour is then immediately set in motion. It is mixed with white, opened, scratched, lifted, transformed into a material geography. Her works do not describe recognisable places. Rather, they suggest them. They are mental territories, inner landscapes, emotional maps. The pictorial matter becomes sand, leaf, wave, flesh, light, rock, wind. There is no explicit narrative, but a continuous evocation. The viewer does not look at a scene: they enter a surface. The strength of her work lies precisely in this tension between chromatic simplicity and tactile complexity. Colour is never flat, never merely colour. It is body. It is relief. It is contained movement. The canvas seems to breathe through its ripples, as if the painting were a skin crossed by something trying to emerge. One might imagine, with caution and without forcing the comparison, a distant ideal kinship with the lesson of Rothko: not in formal language, but in the idea that colour can become a spiritual space. As if a red, green or yellow field suddenly opened up, rippled, took on matter, and became landscape. Favero seems to begin from an essential chromatic field and then wound it, animate it, make it sensitive. Her pictorial gesture is not decorative, even when the work possesses a strong aesthetic presence. It is a gesture of research: an inquiry into the evocative power of matter, into the possibility of giving birth to a world from just a few elements — a colour, white, light, the pressure of the hand, the density of acrylic. In this sense, her painting lives in a border zone: between abstraction and nature, between surface and depth, between silence and movement. It does not represent the world, but retains its echo. And each canvas becomes a threshold: a place where colour, on its own, begins to speak. See less