There is a method that more than others is able to reach the highest closeness between art and esoteric mysticism. It is that of maintaining the semantic field that extends between the shape that signifies, and through which that shape could become meaning, as wide and flexible as possible. The entire artistic production of Tina Lupo, whether it is expressed through painting or sculpture, where she has probably reached her biggest success, seems as being set as a persistent, never tired symbology of religious features. What religion? (we might ask ourselves).

It is here that the game set up by Lupo starts; none in particular or all of them, intended in the generic sense of any spiritual longing that the mankind can address towards the absolute. Which symbols therefore? Also in this case, none more than others. Instead, all of those which combined rather than taken into isolation, to which the artist recognizes the possibility of expressing that longing that mankind had alluded before.

All it takes is for you to see these “imagignific” creations of Lupo, daughters in the same way of the most arcane archeology and as well of the symbolic Primitivism or of the Surrealism , deriving from an atelier that could resemble the antrum of a wizard or the cell of a supreme reverend in order to realize that a certain religion exists in the pieces.

It is the one that believes not so much in the ideological device used by Lupo, for example in the elaboration of the Cosmos Cronos Cycle (the revelation of a supreme authority, of a divine kind, who is believed to reveal itself, breaking the current tyranny of the Chaos), but in the eternal, incorruptible myhtopoietic function of art.

Wherever there is art and a leap of faith that subtends it, there is the possibility to recognize an offer of sacredness, where possible, in the esthetic result of such combination.

The proof of this, is that we are able to perfectly grasp the sacredness of Lupo’s pieces independently from the fact of knowing the religious premise on which they rely.

Gliding freely between conscious and subconscious, history and meta history, as Lupo invites us to do, asking us to follow her in her journey through the most tangled twists and turns of the mind.


                                                                                                                          Vittorio  Sgarbi