I believe there are always two conversations at once that Antonella Mason helps me understand through her art.  The first conversation is between that part of our minds/brains of which we are aware, for which we have words.  This is where the conscious “I” lives and where psychologists say we develop a Theory-of-Mind that lets us see the world from the perspective of the intentions of others.  The second conversation is between our unconscious minds/brains. This one is richly impacted by direct experience in a specific context. It adds a dimension of understanding of each other through non-verbal cues such as the tone of voce or body posture. Ms. Mason’s art, enhanced in my lucky case by talking with her, teaches me and helps me sort out what is important in my own thinking about this topic and how to apply it to my work in higher education. (January 2017)

Doctor James Stellar, Neuroscientist and President of SUNY University at Albany NY

… in all of her paintings there is an “I, the narrator”, with a density of content that could easily escape the unprepared viewer. Purposely unfettered by stylistic canons and rules, and conscious of the need to be “as one is, in order to create”, she expresses herself autonomously from one painting to another, generating consistencies that could be read like the chapters of a novel. In that self-expression – with the oratorical emphasis of a “passionate artist, Italian, romantic, dramatic” (as she defines herself, and she is in fact so) – further clarifications can be revealed regarding the meaning of her works. (Ennio Pouchard’s complete critique on “From becoming to Vertically”,  Antonella Mason’s monograph, Antiga Ed. November 2016.)

Ennio Pouchard, Art Critic

Antonella Mason uses the weapons of rhetoric, backing them up with the poignant arms of painting, of which she knows all the tricks of the trade. She delights in the persuasion of her onlookers, drawing them in with her lively hues, capable of concealing darker emotional folds, charming them with a vertical charge that alternately drives the gaze upwards and downwards, relentlessly seeking out a point at which to pause for thought.It tries to make a deal with those who look: those who seduce but don’t impose; those who invite but don’t indicate. After familiarising oneself with the various styles or languages found in her way of working, the onlooker starts to recognise a number of recurrent themes. Yet the use of colour – intense, brazenly fearless – goes beyond such formalisms: it stays strong both in her figurative and more abstract creations. A colour that speaks, sings, resounds…and at times cries out and turns red.  (Chiara Casarin’s complete critique on “Two Out of a Thousand” solo show catalog  – Spazio Open Treviso Sept. 8/21, 2014 – .)

Doctor Chiara Casarin, Civic Museum Bassano del Grappa Director – Curator

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