Crossroads, the new monograph from Alice Pasquini is full of the young daring and confident girls and women whom have been traveling with her since she began painting walls around the world two decades ago.
Rendered in aqua and goldenrod and midnight, withstanding winds and rains, these figures are willing to be there as a testament to the daily walk through your life. A survey and diary of her works and experiences, her style is more human than international in its everyday appeal, advocacy gently advanced through the depiction of intimate personal dynamics and internal reflection.
Perhaps this quality alludes to the invitation of interaction, the ease of integration with the public space in a way that the cultural norms of her Italian roots influenced her.
“In Rome, where I grew up, everything is urban art. Any little fountain or corner was made by an artist. And there were always a lot of expressions of freedom in this city,” she says in an interview here with writer Stephen Heyman.
Alternating between aerosol rendering, ink sketches on paper, and the sharpened portraiture of street stencils in hidden places, Pasquini can distill a moment that is perhaps remarkable, perhaps everyday noblesse.
“I have discovered that art is a universal language,” she says. Working in the streets I have found myself in countless situations, whether exhilarating, educational, or expected. I receive immediate feedback, whether it be surprise, joy or curiosity of the passerby, irrespective of age or culture.”
Elsewhere in an essay addressing the still-current imbalance of representation of males and females in the Street Art scene internationally, she speaks of a social aspect to her practice, a fulfillment of her desire to engage and encourage women to be themselves and be present, fully immersed in public life.
“Maybe women are presented with a behavioral model that limits our liberty to be ourselves. They tell us how we should be. By painting the women I see, I try to show to them – like a mirror – what they could be but what they repress. It is an incitement for women to do what they wish to do.”
With page after page of images in these Crossroads, the artist presents many people, not unlike herself, and undoubtedly extensions of her. Tender, confessional, timidly hiding in plain view, these figures are public expressions for introverts, observers and dreamers who must confront the harsh chaos of the metropolis, but who are happier without the tumult and able to conjure beauty without the drama.
Longtime stalwart friend, advisor, and manager Jessica Stewart gives readers a warm and close view of the artist and her practice, adding a timbre needed to fully appreciate the work.
“I’ve often remarked to Alice that she’s lucky that she knew what she wanted to do since she was a child. I sometimes think that she doesn’t realize just how rare it is to not only have that calling but to be fearless enough to follow your heart. Through her example, who knows how many others will be brave enough to also take the leap.”
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