The modern artistic world with its fairs, biennials, exhibitions, seems to have felt a great and dramatic absence for some years. These events, despite their diversity, tend to stage the euthanasia of painting treated as a residual genre or symbol of a past to be erased.
The enthusiasm and interest I felt when I met Jara Marzulli's works are the confirmation that painting can still excite. Jara's paintings lead to the tradition of our art history: the knowledge of anatomy, color, light, the never banal theme, lead to the constant story of an inner dialogue. The research dedicated to the portrait and the nude is the mirror of his talent and the defense, among the new generations of artists, of the value of painting as a language anchored to the tradition of figuration.
The constant game between truth and fiction arrives in the sensual portraits of models in which the body flaunts sex but where the center of the painting is elsewhere in an almost hidden detail: a hand, an eye, a flower. His paintings give the feeling that the truth of perception is questioned, the ambiguity of the gaze almost always prevails. When you meet Jara and talk to her, one is almost convinced that she has embarked on a hand-to-hand with painting: precise, painful, restless but also suave and elegiac, a constant comparison between perception and reality where the canons of classical beauty are not concerned. the subject is a man or a woman, tall or short, thin or fat.
The difficulties of studying the body imposes a strict discipline on her, a constant and daily commitment that finds its roots in the exercise of drawing, the analysis of the sign is the fundamental basis for building one's own pictorial vocabulary. The aesthetics of the body seem to be expressed in its usual colors but in reality it is constituted by the explosion of the whole pictorial palette: being able to represent it is an enormous challenge, a game that we do not finish.
