Liala Polato


Existential Geometry by Federico Caloi

American philosopher Douglas Hostadter is currently working on the concept of analogies, which unveils the various aspects of the creative process. The American scientist shows how human beings draw from analogies in order to create thoughts.

In a recent lecture held in the University of Bologna, in Italy, the philosopher explains how the creative and cognitive process of the human being happens thanks to creative analogies, which are in fact the way we relate a mental object with another similar object. So, when I say that the spectator walks with excitement through Liala Polato’s artworks, the intuition immediately shapes the geometrical structure of the picture, which is similar to an urban landscape. This process needs a rich ability of perception, since it makes our thoughts able to find analogies where at first glance there wouldn’t be any. Using this method we can understand the link between a shape, a representation, and its meaning, that is the evocation that the piece is meant to instill. This is the starting point of Polato’s art.

In Liala Polato’s art the fascination of beauty, the feeling of standing in front of something magnificent and yet real, is immediate. And it’s not a mystery anymore why this process occurs. The modern science is revealing the amazement through which mental object strike us in our spirit. Standing in front of a work of art whose expressional power is overflowing, both in its aesthetic and semantic value, the spectator’s sensibility is moved in an indelible, unconscious, sudden way before any clear and rational reason gets to our thoughts. This is the emotion in arts, this is the grammage of the emotion transmitted by true art, and this is what makes art such a fascinating and charming world. Liala Polato’s pieces are able to achieve this purpose.

The formal aspect of her work can already strike because of its hidden, aesthetically persuasive discipline; as well as the monochrome of her pieces, presented with intense and pure shades: green, yellow, red, blue and white, the latest used in order to spell a visual plan out. Polato uses wood, raw material, twine, canvas and jute. The geometrical shapes, which develop within a peculiar regularity in every piece, seduce the spectator. The sum of aesthetic value strikes and fascinates us with a game of shadows and shapes that are rhythmically offered in harmony, producing a sensation of enchantment. Why? Because what we see in Liala Polato’s artwork is not the result of going blind, instead it is the effect of a semantic plan that creates an extraordinary result.

Contemporary science found out that, in order to identify ideas and objects, the human being is trained since his childhood to do what we usually call “matching”, the comparison, and here we can already see a hint of world of ideas of platonic memory. When we observe something, we compare the object of our observation with our internal memory that is the information settled in our being. This knowledge allows us to realize before Liala Polato’s artwork that there is something about the meaning of those wooden blocks, set with a certain, odd regularity. We sense that there is a meaning in the sequence of shapes that develop methodically in her work. Here comes the transformation, Liala Polato creates a system, gives it a name, it’s called “LIA CODE”, and it is a binary system, a mechanism used by computers to translate letters and numbers into information; the artist uses a system with 7bit, that is the famous binary system of the machine language. In this process words become real objects, it’s the “WALL CODE” that moulds three-dimensional words, and the full and void spaces that we see in her pieces are words.

Liala Polato’s pieces are real existential geometry. Light, darkness and shapes generated by the composition raise to a higher meaning, they are a portrayal of the connection between human beings and communication, they remind us to cuneiform, to the birth of culture and to the algorithms in informatics.  These works of art submerge us into an emotional dimension that balances between the dawning of communication and the problem of incommunicability, they soften our heart with a silent song of symbol-letters, telling us coded sentences that show the essentiality of communication as well as making us compassionate about the difficult development of the relationship between human beings. In her works, that remind us of a symphony when all the musical sentences are at the highest, Liala Polato tells us about the path of humanity, its history, its achievements, its difficulties and its hopes.


La preparazione artistico applicativa (arredamento, grafica pubblicitaria,vetrinistica) e la formazione specifica professionale nella sfera dell’architettura hanno contribuito a plasmare le mie conoscenze tecniche, che applico nell’ideazione e realizzazione delle mie opere. L’esperienza nella progettazione di componenti d’arredo e di design hanno determinato il percorso intrapreso. I materiali che utilizzo sono tipici dei complementi di arredo e delle finiture murali. L’intenzione è interpretare l’idea come l’edificazione della medesima. Da una profonda crisi emotiva, da riflessioni e semplificazione delle stesse è emersa l’esigenza di esprimermi. In una società dove tutto è da catalogare, codificare o riassumere con un termine, un aggettivo o un sostantivo di appartenenza, nasce una mia  ribellione alle “parole”.  Attraverso l’interpretazione grafica di un alfabeto codificato da un noto sistema binario (7bit), che ho acquisito come mia personale base, sviluppo delle realizzazioni lignee; le vere e proprie scritte che ne ricavo con questo linguaggio sono inserite in tavole, con le quali intendo esprimere dei concetti o fissare termini. Accompagno quindi a spazi, vuoti e sfondati, ricavati dei colori, materiali e misure riconducibili, con ovvietà o simbolicamente, a quanto è mia intenzione imprimere.  

Le mie realizzazione artistiche , cha hanno inizio nell’estate del 2014, il più delle volte, intendono mettere in relazione “gli ambienti” e l’uomo; l’interazione con la natura, spesso intesa quale sfruttamento sfacciatamente improprio, utilizzando una modalità simbolica e codificata; una paesaggistica costruzione con un’urbanizzazione ricca di reticoli di connessioni proposti per nutrire l’animo non solo percependo la sensazione di detto apporto energetico, ma vivendo e intercedendo con la natura a favore dell’uomo stesso. 

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