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IIn
these paintings the encounter with History reveals itself as
intimate and subjective tale of remembrance of her childhood
in Trieste during IInd World War. This private area of the
Self becomes perceptible as it reacts to many memories: the
diverse family background (Austrian, Italian, Slovenian),
the Triestine Jewry, the taste, harshness and colours of
Trieste - the multhiethnic seaport and its inland - are
sifted through the memory of a child and expressed by
childlike signs and tokens.
The handkerchief is not only the sign that stands for cry
and remembrance, it is also the physical token of a
different nostalgia, not only of childhood but also of
femininity – the bridal “trousseau” that belongs with the
woman in the house and with her domestic abilities; but also
the leftover of feminine, outdated, bourgeois coquetry; and
at the mean time this handkerchief is the “fazzolettino”, a
sexual symbol in love and wooing folksongs from all over
Europe. |
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