Polifacetic creator with a consolidated trajectory
Her work stands out for a marked personal style, where through photography, painting and collage portrays the feminine universe with a strong fresh and colorful aesthetic from irony and self-criticism.
Paula Vincenti has shown her work individually and collectively in Spanish galleries such as La Clave de Murcia, Polígono Gallery and Yusto / Giner in Marbella, in New York's Sylvia White, Uncommon Choises, Fabien Fryns Fine Art in Los Angeles and in F2 Gallery in Beijing, participating in international art fairs such as ArteMilano and Just LX.
She has presented his work at the CAC Málaga, Joaquín Peinado Museum, and is represented in important private and institutional collections such as the Fundación Unicaja and the Benetton Foundation.
The recent work of Paula Vincenti is a retro-chic juxtaposition of ideas, an eclectic puzzle of geometries and a figuration nearly baroque, with a twist that create a strident, acidic and sparkling language that converge on the surface in a harmonic and sophisticated way, in order to unravel and try to understand aspects of our current society and contemporary times.
As in the rest of her approaches in previous work, the artist resorts to compositions with an aesthetic that works as a "visual punch" of excessive rhetorical preciosity, with feminine figures in a suggestive and superficial attitude that wander in bewildering scenarios to address issues of a superficial society that is drifting. The artist makes self-criticism and reflects on the excesses of a society that is increasingly alienated.
Her works have a certain irony and acidity under an apparent innocence. Paula Vincenti has a clear intention to reach a general public with a message that stands out in the treatment of images as an advertising claim, threw a lavish and sometimes disguised criticism of the consumer society and conformism that surrounds us.
Paula Vincenti chooses her ingredients capriciously and obsolete. Pieces from the seventies, heroines of long gone forgotten TV-shows, buildings of Freddy Mamani, Japanese females, lamps of Sciolari; adds a few spoonful of pop sound and nostalgic cinematography to shake them in his cocktail shaker and then scatters the contents on the surface, providing clues to the viewer to guide them to an effervescent, dynamic and almost explosive universe where she proposes: THE WORLD AS I SEE IT.
PS.: If Quentin Tarantino was a female artist (expressing via paintings) it would probably look like Paula's work.