… The art of Antonella Masetti Lucarella (since here we are talking about a real artist, and this does not happen easily nor frequently) looks to me as essentially consisting of grasping the basic, secret, silent layer of things, identified, ab origine, with the Void. …

… Life is there, behind the curtain. Its very few laws are there, behind the curtain. Of course we can deceive ourselves into believing to be able to bypass either or both of them. This is what almost all of us do almost always: paying a price. Because distance from the curtain and, even more so, from life, is very similar to the famous gate of Buñuel's Exterminator Angel. It cannot be crossed. Almost never. Not never. In fact, when somebody reaches the no man's land, we can perceive it. We know he is alone, that observing the truth can be extremely attractive, though extremely difficult. We know it may happen maybe only in this mysterious experience men call art. …

… Defying eyes. Receptive eyes. Possessing and greedy eyes. Nature eyes, nature with its laws for the preservation of the specie. Nobody can tell why lust works this way and only this way, just as nobody can say why stars exist. This is the face of truth, beyond the curtain. This is the truth discovered and revealed by Antonella Masetti Lucarella. …

Flavio Caroli, 1995

 

… I believe we should reasonably start from the black, from its physical, symbolic features, despite the uncertainty, at least for now, about whether this is light or substance - or place, space, stage; in any case an essential element for the apparition. …

… dispersed fragments, hands, eyes, broken profiles, shaded faces, a breast, a pubis. Notes, quotations, as in the pages of some recovered codex, all this rendered through the transparence, consumption in the mastery of a lovingly sketched drawing, accurate and tender. A drawing reaffirming, not only from a technical standpoint, a nostalgia for the body, emerging or maybe on the verge of disappearance, but refusing to give up its testimony. …

… Visible, readable statements don't prevail - when words are isolated and evident, concepts risk to be limited to captions; space is defined by the strategy of the writing signs in their complexity: interfering with the strokes of the drawing, gaining expression equality, becoming an undifferentiated substance, where the immediately recognizable data continuously bounce back. Signs become mediators just like black color (some fragments, or even better, ligaments of the black still remain here and there) overcoming the full-empty, internal-external distinctions.
Color too contributes; it highlights, dissolves, enriches, becomes part of the system of ambiguities, featuring chiaroscuro in all its possible facets - originating the multiple, elusive and therefore evocative indications created by this style of painting. …

Roberto Sanesi, 1998

 

… Seduction, as we were saying. Antonella Masetti Lucarella's characters seem almost consecrated to this purpose: sacrificial victims, we may suggest, where sacrifice is a conscious and redeeming act. Faces and looks are the "clefs" used. Mainly female faces and looks continuously informing or inquiring, suggesting, requesting. At times… they carve a representation space-time: and we are left observing their stillness to interpret their sounds, an abstract-concrete task. …

… The faces become interpretation crossroads between formal "need" and musicality, because of a constantly invoked seduction rigor, continuously solved with poses, entrapments, "canvas plots", languid postures, with the balsamic innocence of "nudes" and with all the proud characters the artist juxtaposes along its stage (which is mysteriously able to become our own).
The continuous reference to the double is, of course, a reflecting surface, but also, and mysteriously again, the absence of both. …

Giorgio Chiappini, 1995