My current artistic research focuses mainly on the medium of painting, I have in fact spent many years of my training and professional life to study and work as a set designer and costume designer. I have dedicated myself and I often dedicate myself also to performance art, collaborating especially with contemporary avant-garde musicians.

I began very late to deal with painting, exactly around the age of 27, after meeting the painter Alessandro Bazan, the founder of the "school of Palermo"; from him I learned the value of the pictorial gesture, liquid, fast and expressionist that I was naturally akin and the importance of drawing from life. I elaborated a graduation thesis on the portrait and since the beginning my research on figurative painting has been oriented to the conscious development of the functioning of the pictorial eye. I have given great importance to the direct taking from life and to the preliminary study of the subjects, starting from the hundreds of sketches and drawings I have collected over the years.

A fundamental datum on which my painting is based is the importance of visual perception, even when I capture my subjects with photography. I interpret the anatomy of the figures expressionistically, as an investigation into the anatomy of perception. I definitely belong to the category of figurative painters, realists and mostly interested in painting as a subjective reflection on reality.

For some time now I have understood that my love and obsession for the representation of bodies does not stem from a precise academic ability to create the body in the classical sense, nor from the search for virtuosity in this sense, but only from a free passion and attention for the mute capacity of bodies and human gestures to express and evoke worlds submerged in emotions and unspoken stories. What I dwell on is the proxemic relationship between the bodies of my subjects, caught in the natural and unconscious gestures of everyday life. 

I am a portrait painter, a designer and a watercolorist; I have developed a realistic oil painting, (but not photographic), which has as its subjects the people who live in the beaches and suburbs of the city of Palermo, seaside villages, where I chose to work, after having lived in Milan. I chose Sicily as a place of inspiration, because of the immanent light and the absence of speed that characterizes the social time, factors that go well with my poetics and dimension of painting.  
                                                                                                                                                                                           
The residence in Sicily has allowed me to know, study and tighten a relationship of training and exchange with many painters who create the artistic and cultural context of the island.
My attention is also directed to the tradition of the early twentieth century Italian art. 

My artistic research in painting is marked by the awareness that each painting technique is for me a completely different language from the other. 
I understand oil painting as a strongly plastic mixture aimed at realizing a monumental aspect of reality and art. 

The drawing is completed and is realized in the perfect and synthetic line, especially in the dimension of the sketch, my points of reference are Picasso, Matisse and all the expressionism. 
In the watercolor, I praise the lightness and sunlight that erases everything, every contour and makes evocative and dreamlike every kind of image. 
In the chine I realize the graphic speed of a visual writing that is accomplished in the perfection of the complete and synthetic pictorial gesture. 
My means are mainly pencil, pens, ink, watercolors and oil. My way of drawing is versatile and uses different languages and techniques that derive from my continuous research.
I realize my subject transposing it in different forms and in different declinations expressive and formal.

Linda Randazzo

​