Shape turning into structure
Luisa Russo is a young artist who, since early start of her research, was interested first in graphic design and then in constructive dynamics, trying to explore new creative options in formal aspects as well as in technical, operational, speculative ones, in materials and contents, where the bond between art and technology, or art and science, is always a difficult one to decipher.
As to the “legitimacy” of new tools used in art and creativity, the artist brings light with her surprising identity: observing, analysing, building up a hypothesis. In other words, she knows how to create links between “idea” and “creating an idea” in relation to materials, technologies and information available, where “geometry and human” and “idea and poetry” come in relation together and complement each other.
Starting from the assumption that in the real world nothing is defined or definable, her research represents the rationalist spirit which, starting from basic principles, intuitively or experimentally identifiable -such as the axioms of Geometry or the principles of Mechanics and Physics-, tries through a deductive process to be able to develop new problems and to find new aesthetic solutions where nothing is left to the randomness of improvisation. Even the irrationality is guided by the compactness of the “shape”, so that even the substance making the artwork becomes conscious stratification of different moods: in this way in Luisa Russo’s artworks one can observe the miracle of the pacific coexistence between the “motives of the heart” and the “motives of the intelligence”, in accordan- ce with the author’s unexposed faith in the consistency between aesthetic and ethic conscience.

In her scientific similarities and correspondences, her work is for her on the verge of not only the phenomenon world, but also of an approach to research based on and explained through its features and its constructive elements.
Despite trying to carry forward a research that is not only a sort of optic-vi- sual game, where the dynamics of creating the artwork bring up a rational emotional participation of the viewer, Luisa’s work is “shape” turning into “structure” - “content and container”: their functioning leads to a process of transformation which doesn’t necessarily lead to the “diverse”, but to the mutation of the work with respect to the perception of it, also beyond its space, the space occupied by it and the space that remains beyond the viewer’s perception capabilities.
In her work one can see
The formal perfection, the shape
The inspiring thought, the content
The power, aesthetic value
The beauty, corresponding to the true and to the world of the ideas in Aristotle’s terms.
We could say that the research brought forward by the artist is a flow that goes directly from the artwork to the viewer, where the artwork’s emotional power projects itself in those who look at it and touches them emotionally. On the contrary, the expressive value, or structure, goes from the viewer to the artwork:
“I observe a painting and am able to appreciate it: thanks to my sense of aesthetics and to my knowledge I decipher it and can understand “what’s behind it”. Visible out of the invisible. Shape is the skeleton of the artwork, content is its brain;
The expressive value or structure is the beauty of the face and of the body, the aesthetic value is the heart.