Review from the art catalogue of Santa Sara Academy by the Art Critic DANIELE RADINI TEDESCHI:
“The form designed to endure over time the world uninterruptedly lived in order to then create the intriguing and reactive cromatic phenomenon of the graphical separation, contributes to make the mimesis unique and the default subject of the painter Moira Bigelli.
From the poetic tonal contrast the path becomes a very creative synthesis but not so much for aesthetic quality as for the systematic cognitive debut from whose perceptive universe, her desire to readapt the image helps to provide independence to the route of the pictorial structure.
Critico d’Arte FLAVIO DE GREGORIO
The Art Critic Antonio De Gaspero said about her:
Relying on SPACE-MEDIA of unique dimensional relationship and fervid acrylic colours, Moira Bigelli creates paintings that can be placed without any doubt in a FIGURATIVE-POP artistic field, that at first glance could seem essential but which in truth are very simple.
Pieces of art that lead you to meditate on the high concept of SIMPLICITY, as in sobriety and naturalness, not to be mistaken with ease or superficiality.
From her travels around the world and her passion for photography the artist is accustomed to observe everything into its smallest detail and to retain every particular.
With her innate curiosity she is prone to study, analyze all that is known and all that is new. In her paintings she is therefore delivering a laborious and subtle work of SUBTRACTION. Her delicate playful side, having skimmed, almost stripped the flesh from everything, add to the shape an apparently random use of colours, almost never her own, hardly existent in the real world.
Landscapes with orange skies, purple cactuses, seas with rainbow waves, red clouds, faces of different colours, hair in pea-green colour as well as bread and chestnuts, purple pumpkins and yellow fennels. Buildings, purple or orange monuments or green lucky charms in contrast with white shamrocks.
Unlikely tints that are surprisingly in harmony.
Ambiguous visions, where form immediately suggests what you see, leaving the viewer in a real dimension, where the dominant colour, rather confusing, takes you to the unreal, imaginary and fantasty. In fractions of a second, M.B. ranges from a clear to a poetic vision that only DREAM can offer.
Rationality and irrationality coexist happily in her artwork so as they coexist in the artist’s soul and mind.
The work of M.B. is linked, even without any direct inspiration, to artists such as Warhol, Lichtenstein, Adami, the Metropolitan graffiti artists as well as the Disney illustrators of the 60’s, while retaining her own distinctive traits that substantially diversifies the work of the artists mentioned above. The religious-themed work that belongs to the BiELIEVING series deserve great attention: Crucified Christs, Virgin Marie and child, carefully sought in harmony with a greater work of subtraction, compared to the rest of her work. Shape of faces that are without any somatic feature, forces you to acknowledge the POWER and SACRED of the images, giving every person of any ethnicity and religious beliefs the possibility of unconconciously identifying oneself with people.
The whole art of M.B. is also pervaded by a sense of musicality: low notes given by the sharp black mark and upper notes given by bright colors, all with simplicity. Like the one that is innate in a newborn baby, or the one mastered by Tibetan lamas, reached after decades of MEDITATION.
Review of the painting presented at the Triennale in Rome 2011 by DANIELE RADINI TEDESCHI Art Historian: “Ardent and passionate colors of the city make the composition, although simple, full of joy. The canvas is boxed by the series of skyscrapers through a repetition of vibrant to hues.”