Vittoria Rutigliano was born on 10/2/197X in Conversano, a city in the south of Bari.
In 1996 she graduated from the Academy of Fine Arts in Bari in the Theater Scenography Course and collected her first work experiences in the design of the fabric and in the architectural and pictorial restoration. Subsequently he turns his interest towards the scenography and the world of the theater, collaborating in the realization of pictorial trompe-l’oeil.
After a few years he resumed his academic studies in the course of decoration, deepening the techniques of engraving graphics and graduated in 2009 with a thesis that studies the artistic influences of futurism entitled “… Futurist Fashion ……………… ..”.
At the same time he integrates his artistic training in the musical field, studying solfeggio and piano. This continuous contamination with musical art encourages the artist to study the writing of scores and to experiment with their translation into an aesthetic-pictorial form, thus dedicating himself to the reworking of classical musical texts, for a music that is no longer just to be listened to, but also worth seeing.
Over the years Vittoria acquires the collage technique in an increasingly masterful way, developing new gluing methods and experimenting with dozens of interaction with other artistic elements such as paints and supports.
To date, the original and distinctive features of his collages are the balance of the compositions, the often “scratched” line of the images and his natural ability to “construct figures with figures”
There have been several artistic collaborations and participations in exhibitions, both in personal and collective.
The traditional function of the frame is to isolate the painting from the wall it is usually hung on. If we focus our attention on paintings in which the vision they give us still responds to a mimetic idea of reality, the purpose of the frame is very similar to that of the limit, beyond which the illusory space is created, to the point of making us guess one possible space beyond that boundary.
According to Simmel, the frame generates isolation and concentration: “What the frame provides to the work of art is the fact that it symbolizes and reinforces this double function of its boundary. It excludes the surrounding environment, and therefore also the observer, from the work of art and helps to place it at that distance in which only it becomes aesthetically usable “(G. Simmel, The frame of the painting. An aesthetic essay, in The paths of forms, texts and theories, edited by Maddalena Mazzocut-Mis, Bruno Mondadori, Milan, 1997, p. 210).
When the frame fails, our perception of the work changes – I am referring to a type of direct fruition of the work, because the observation of a photographic reproduction refers to other perceptive parameters – and we accept this absence only in paintings (it is the case, for example, of contemporary ones) in which the relationship “image of the painting – mimesis – image of reality” is distorted or declined.