THE "WILL" TO PAINT Ribana Szutor’s painting does not need mediations or explanations, her painting is directly in contact with the sensibility of who looks at it. Her painting does not require judgments, at least for the time required by the eyes (and soul) to let fermenting emotions and feelings, impressions and artistic similarities from the time they met. They seem many different images, for subject and style, but if the fist impression settles, you will soon notice that they all recall, beyond the common vertical “human size”, to an unique existential attitude. It is all about a choice of the soul, strongly felt, that is manifesting through the evident intention of “willing” to be an artist with painting, ready to restate the value of the painting, just keeping painting. As always it has been, on the other side, is about putting signs and colors on a surface, as probably as always will be, beyond all new representative techniques. If you look back at the different artistic currents of the eighties and nineties, of the past century - the years beyond Ribana’s artistic formation represent her direct artistic archive - the first thing you will notice is the frequent use of the adjective “new”, new “wild” artists, a “new” figurative art, a “new” German and Austrian painting technique. Under the light of the “novelty” appears all what deserves to be taken in consideration. But in a very short lapse of time from the “new” wilds there is now a new artistic way with a neogeometric program called “neogeo”. LA “VOLONTÀ” DI DIPINGERE La pittura di Ribana Szutor chiede poche mediazioni perché si pone direttamente a contatto con la sensibilità di chi guarda. Chiede la sospensione del giudizio e dei rimandi, almeno per il tempo richiesto all’occhio (e all'anima) di lasciar sedimentare le sensazioni, le impressioni, le analogie pittoriche suscitate dall'incontro. Sembrano tante immagini diverse, per soggetto e per stile, ma se si lascia sedimentare la prima impressione ci si accorge presto che tutte rimandano, al di là del comune formato verticale a “misura” umana, ad un unico atteggiamento esistenziale. Si tratta di una scelta dell'anima, fortemente sentita, che si manifesta attraverso la palese intenzione di “voler” essere artista dipingendo, di voler ribadire il valore della pittura continuando a dipingere. Come si è sempre fatto, d’altra parte (mettendo assegni e colori su una superficie), E come probabilmente si continuerà a fare, aldilà di tutte le nuove tecniche rappresentative, anche in futuro. Se si getta uno sguardo sulle diverse correnti artistiche degli anni ottanta e novanta del secolo scorso - gli anni che stanno alle spalle della formazione artistica di Ribana Szutor e che rappresentano, quindi il suo più diretto archivio visivo -, quello che di primo acchito salta all’occhio è la frequente utilizzazione dell'aggettivo “nuovo”: si parla di nuovi pittori “selvaggi”, di una “nuova” arte figurativa, Di una “nuova” pittura tedesca e austriaca. Alla luce del “nuovo” appare tutto quello che merita di essere presi in considerazione. Ma in un lasso di tempo molto breve ai “nuovi” selvaggi fa subito seguito una corrente artistica con un programma neogeometrico, chiamato “neogeo”.
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