Talent, intelligence, curiosity : these are just few of examples coming to my mind when I observe Regina Goldman’s works. I still think about the idea of a more mental and invisible time , made up of daily expectations related to her whole experience on painting apparently more immediate, where starting idea does not count anymore, there is a grain governing its time.

Regina paints by thinking of one of her most preferred artists and masters of international fame : Gerhard Richter… the most influencing artist in the world and , in certain periods the most payed one too. His works have been exposed in the most famous museums such as Pompidou Centre of Paris and Guggenheim of Bilbao.

Grey and its shades are welcome for Regina; this is the colour which better corresponds to indifference, to message’s refusal, to absence of opinion and shape. But grey – so as absence of shape and all the rest- is only real as concept and so the Artist can not but add a tone of different and brighter colour. “Thus, painting becomes a whole of fictious colours that are conceived like a pictorial surface”.

There is a chemistry of pigments and of retouch, and with diligence she realizes multi-layered and dense works, composed by a process of subtractions and superimpositions.

She reaches chaos’ edge, but she never looses discipline of analysis, of capability. And Regina puts it in her pictorial gesture which is calibrated and, above all, the result of a wise study.

Her series of works seem to be inspired to fragmentation and to transformation.

They all match up with a condition of steady instability, source of an unavoidable anxiety but also of an organic excitement as regards incognito and discovery.

In her painting a sort of double movement is present. On the one hand her hand tends to fill, to exalt work through complicated material choices, on the other hand she tends to scrape all foulings to keep it dry and immediate without any emotional intermediation.

The Artist’s painting represents interruption of silence, which she deplaces like a body deplaces water in which it is immersed; it is continuation of a “ noise”, so as listening becomes a necessary condition to under stand her creations too.

Her works are the result of constituent elaborations which follow understanding of colour’s pictorial space as independent expressional means.

These representations come from observations, associations and synthesis of colour and shape which deliberately start from casual signs. Once the latter evolve, they are organized in constituent- syntactic structures which directly draw from formal reminiscences coming from unconsciousness. This research is created by will of understanding real functionning of creative thought without any control imposed by reason, beyond any aesthetic and moral concern.

Therefore, art becomes a basic form of expression for Regina. It is connected to her way of feeling. This frustrating impulse to necessarily understand is cancelled and a powerful expressive means of an internal world is created with which she looks for a contact, a planet still to be explored or witnessing something that emerges with difficulty. It helps to bring it out, it brings out to the light, it gives the shape and discovers.

Maria Grazia Todaro Art Director e Critics of QueenArtStudio Gallery- Padua 11 June 2019