Karine Romanelli's work is located at the crossroads of two worlds. Merging the photographic image with the painted image, the artist evokes the real in many of its possible forms of representation and interpretation.
In this way, her collages superimpose frames, creating a spatial distortion, which brings her compositions closer to a kind of abstraction. The frames also bring together spaces, connecting urban landscapes, familiar indoor settings and everyday objects in a kind of cross section of reality that reveals, in a single frame, both the interior and exterior of a given scene.
This kind of freedom of composition, which comes from the ability to move away from classical painting and the search for perspective securely sets Karine Romanelli's work in an approach that is that of the Avant-Gardes and the artists of Modernity. The artist does away with any hierarchy between a cut out and glued image and a painted one worked on with a blade. Since one is based on the other, both practices allow the artist to multiply the textural and material effects. Time and spaces also become blurred as they come into relation with one another. Interior and exterior speak to one another and enter into one another, nostalgia for the past rubs up against the modernity of urbanism, chic and glamorous cafés come into contact with working class living areas and neighborhoods.
This "grand voyage" weaves together the various levels of interpretation of the artist's work of art, between black and white and the soft and powdered colors, between memories and the present, between the private and the public, and in this way it touches upon the universality of a situation.
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