The painter pursues the “exaltation of the matter”, and through some exceptional and strong experiences, she shows us the connections determining it. Marisa Falbo is a woman of culture, she is conscious of the upsetting of life, the suffering and the resorts to regenerate themselves. In her very original and elegant works, we can see “filtrated materials”, almost dreamlike ones, in which there is the desire to translate the miracle of the “great philosophical work”. Just as Ermete Trismegisto said: “What exists far down is like what exists higher up”.
LEONARDO SCIASCIA (Writer)
Marisa Falbo conveys to her paintings what she sees and feels in her life, attaining from nature or digging in her knowledge and conscience and knowledge. All this is the starting point for inquiring into the themes of her own mature art. Just as the artist says: “my art catches into my inner sacredness and it throws light on the painting. It is possible, thanks to my consciousness acquired through events and experiences that made me savour variegated existential staves where music was sometimes bitter, melancholic and blue or, other times so joyous and impetuous to make me feel my breath failing!”.
From the 70s the painter spaces out and develops several themes achieving series of paintings containing a deep analysis of the human minds; she also expresses her mood by means of her art. Very interesting is the Baudelarian period, a period devoted to clowns: the painter undertakes the painting of the faces expressing the inner emotions of the character represented. Every period represents an interval of the artist’s meditation on her own course of life. But when the shirt becomes too narrow, she wears a new one”, she is open-minded, always ready to accept every advice from her personal inner motion. So she takes another way, she changes themes and techniques, always ready for new experiences.
That is why her art is a kind of logbook: by means of shadows, changes of colour overlays, she notes down the canvas every throw of her deep, private emotions to produce a sort of gallery dedicated to her own life. All her experiences, experiments and evolutions have led her, during the last twenty years, to approach and penetrate the Mer-ka-ba (words coming from ancient Egypt), dealing with spirit and light conveyed to both the human and divine reality. The merkaba is a field of rotating light contemporary concerning both our spirit and body. Through meditation you can help your mind, body and spirit to approach and test other levels of reality and potentials of life.
Into the merkaba you deal with the crystal clear energy widely described and visible in Falbo’s works: she contemplates holy and specific geometries aligning mind, body and art.
At now, she works every day in her own merkaba, conveying in her works every shade of her experience reaching this way the positive energy that now marks her.
RAFFAELLA FERRARI (Art reviewer)
“ ...thanks to the love wings I crossed those lands, that no barrier is effective against love, what love can do, love dares to do”.
So Shakespeare makes Romeo exclaim...
Marisa Falbo’s love towards art is a pictorial attitude: she loves wings, she knows them and we could see them in numerous interpretations of painting. Her palette gets dressed with colours, winged colours, not to disperse them, but to fix them in our memory for ever. This painter gives us special paintings ... her paintbrushes paint a reality always original, married to dream because Marisa Falbo has an imaginary rich in mystery, with shadows coloured by the rainbow. A bare palette of sex to involve the male, to make us love it before flying away; and when we are left alone, the indelible memory of the painting will remain. This painter has the rare art of pictorial poetry, and we take possession of that poetry because when we stay in front of a painting of hers, we feel happy.
So Trilussa writes “Happiness. A bee rests on a rose-bud, sucks its essence and flies away. At the end happiness is a little thing”. Marisa Falbo’s paintings are not “little things” and I say “They are important things to their owners”.
UMBERTO VERDIROSI (Painter and theater actor)
“The couple among eroticism, feminine and game”. Marisa Falbo’s creativity has its roots into her strong introspective ability, just like the capability of a shaman or a Buddhist Zen. She is able to comprehend herself as well as the others, to know a nature not contaminated by intellectualisms.
This painter from Palermo transmits us the desire to taste the Oriental culture. In her works illustrating the couple, we rediscover an eroticism based on woman, showing the female valences of the partner: sensuality instead of sex. The osmograph technique turns out a refined and elegant elaboration of dreamlike dimension: so every work is a dream, transfigured by this technique that the painter defines “osmografia”.
From the catastrophe to the game: this is the itinerary of her way to describe femininity and eroticism.
Inevitably autobiographical, the artist move her attention from what is transgressive, painful, demoniacal and disturbing to what is joyful, looking for tenderness and sensuality.
Marisa Falbo does not like being framed in an artistic current because she is really original and she has a strong, creative and artistic sensibility. Her “osmografia” symbolises her attitude to emerge from dream, building castles in the air, inner trips so to exorcise the nightmare.
We find the theme of the couple in the centre of culture and customs of the ‘80s: after the crisis of the couple love is rediscovered. In Marisa Falbo’s opinion the feminine eroticism offers the partners a creative contact. This is a message of hope and utopia in a context of sexual consumerism and alienation; the feminine protagonism overturns the crisis rediscovering the game, the creative contact into love relationship.
FILIPPO DI FORTI (Psychoanalyst)
In the Art of painting of Falbo, that sees the Mythology as the protagonist with surrealism and sacred geometries through an oniric work, played by intrapsychic system, there is the transfiguration of reals and latents psychological meanings of a dream in contents manifest ,full of alchemy meanings. The artist's thought is lifted to the sphere of everyday life and as a vertical bridge rises through all the worlds reaching a higher floor, close to divinity, managing to percorrerne the entire hierarchy,step by step. Her creatures, simulacra of the eternal, as if they were immersed in the water of a well, emerge evanescent,often in the form of metamorphosis, and while they're reshaping and delineated themselves with unrivaled artistic expertise ,they transport us into another dimension that just draws us to itself and impresses us ,with its bombastic aesthetic potentials. On his canvases bloom butterflies, grasshoppers, swans and phoenixes that transmit a divine light, almost supernatural, visions, fantastic images, in a particular refined and softly sensual grace that possess the rare sense of "pictorial poetry." Only through the symbolism we can penetrate into the cultured theater of Marisa Falbo's Soul and understand the psychological and spiritual world of the artist in search of the "sublimation of substance" to regenerate. In his works of extreme elegance and originality, "Fabrics filtered" transcend the anonymous stage of everiday life and with those wings that the artist loves to paint she marries the dream, full of mystery and veils of color creating paintings unique in style and subject, veiled of ethereal transparencies, illustrating the Divine gait in the transformation of being, to generate flows of energy spiritually therapeutic. Eurythmy of the Pythagoreans applied to architecture is applied by the painter on the human anatomy where the sense of proportion and beauty is instilled in mythological figures as Mercury, Leda, Venere, Zeus and ....... that inundate us with a diluviante cosmogenic energy. From painting by Marisa Falbo rises a song lyric, voices of oniric and mythological presences. Marisa converses between the knowledge of the unconscious and the knowledge of the instinct that cross the verticality of history and myth projecting the the psyche into the point of synthesis between creative height and ancestral perception and everything lives for mysterious Sympatheya demonstrating the existence of a dark Side,parallel to the appearance. The influence of the great spiritual master, Drunvalo Melchizedek, is manifested with the appearance of the ancient symbol of the Flower of life in his recent works, inserted by the artist with a prodigious finesse and sensitivity. Recent works have an extended cultural depth and expressiveness entrusted to the color contrasts and a diverse and hybridized metissage compositional It outlines an inner perimeter within which resonate vibrant brushstrokes of "crystal energy". The sacred space of Marisa unravels a wire between ages and eras that draw images and fascinations from an inexhaustible encyclopedia in which are summed "ariostescamente" all the forms of the universe. The enormous expressive power rouses a pluralistic view of reality multiversathe phantasmagoria of enchantment and multiple game of mirrors. Her ideational "fable" internalized by the recovery of the iconology's study and imagination, generates a warp rich of conceptual configurations unrelated to the present time and structured on multiple spatial and temporal coordinates. In works like The Lady of the Time she reveals an incredible ability to communicate feelings and emotions, and to convey profound messages that reach the mind and heart of the beholder. In her enchanted world, secret center of which we can only reveal the joy, true synthesis between classic and modern, the long artistic and cultural heritage is expressed in a painting whose techniques reflect her polyhedral background and her formidable talent that combines light and color to expand the universe in search of infinity and immortality. These works of art, portals of the time, contain initiatory tradition of cultured surrealism and supported by the technique of "osmografia", which she created, designed to enact the dream and to decipher the complexity of the universe, also transmit the emotional well-being as the release of an incessant and original creative process indicating a glossy clear intelligence behind the creation, which she tends to show on each canvas. The angelic figures can be considered as a link between the earthly world and the celestial world, between man and God, a transposition in which drawn a figure, it continues to live independently and the image is the reason for existence, its justification, its meaning,into the cultured bestiary of Marisa. Names and literal crawlspaces blend into different subjects, making them the protagonists of a single thought expressed under the noble form of visual art for an authentic champion of the technical and stylistic profile. All these elements of stylistic and cultural evolution, put the artist Marisa Falbo on the ranks of the most advanced artists , mature and refined in to the Olympus of the Contemporary Art.
MELINDA MICELI (scrittrice e critico d'arte)