Luisa Calligraphy
Calligrafia Formale

We can think to calligraphy free from the old writing styles: after have been studying the old formal styles for years we can enjoy to create new calligraphyc strokes, free forms not tied to the classic ductus.
The strokes must preserve some calligraphic characteristic, otherwise they still remain simple strokes, nothing have to do with calligraphy (this is my firm thinking on modern calligraphy), still having inside the gesture, not only of the wrist, but even of the forearm and of all the arm, a fast gesture with its own character, its own expression, a fast gesture which born in a spontaneus manner ... as spontaneous to seems casual, thrown here and there... but which is not so, not completely ... is still respect beauty rules, from which starts to go on...

It is this modern calligraphy?
                    Probably... but not only this...

→Last Works

My last works on paper and artist book. Nov 2013 - Mar 2014


Abstract2


Journey

AbstractK

Blue1

Blue2


Journey2

Artist Book 2

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→Collage and Canvas

I like so much to work on canvas! Canvas retain a particular touch under the nib, it is rougher but softer than paper, the strokes over canvas are less defined... and if I use different backgrounds, gesso, gouache, inks... everything grows in a fantastic game in which I can mix the antiquities of some writing styles with the modernity of certain strokes or ink splashes... infinite variations...

26-Pillars


Heart-Sutra


Calligraphy


Water


S.Agostino


A-Z


Sonnet 109

 ....  ...

→Paper

The "Paper" (capitalised P!), was -obviously- the first support I used for calligraphy. Despite the pleasure that I draw working on canvas or trying new supports, Paper is my primary element, the one to return to... I love to feel its roughness or smoothness, its absorbency...somethimes I can feel its texture just by looking at it...


Seneca

Universo


Two hands


Imagine...


"S"


RomanCaps


"M"


Roots

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→Books

I first met with “artist's books” at the Scuola Internazionale di Grafica in Venice: I was curious to learn about them and approached them with caution, but they aroused my interest immediately as did the numerous printing techniques taught at the School (which are unfortunately quite impossible to reproduce at home). I see artist's books as a pursuance of my work on paper or canvas, they are like another side of the coin... a coin with infinite facets...

Arabic Book

Concertina

Ponte Guglie

...Contrario...

Bindings

Japanese Binding

4Books in One

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