In art, everything evolves, and every artist, aware of his status and modus operandi, is no exception to the speculation of composition, but tends, frequently, to engage in continuous experiments that lead successfully to achieve many and new results purely visual. Tina Lattarulo has been moving in this context for years, her creative verve has well established in two specific technical and figurative areas : painting and sculpture. In these two fields, Tina has engaged in original research that has led her to the creation of unique subjects, whose iconographic value is delivered through meditation of her sub-unconscious, but, in particular, by her clear intention as to have art beyond every aspect of life or primarily professional.
Over time, these investigations have, therefore, contributed to the creation of elements and forms that have subsequently begun to have their own symbolic connotations, as they have been raised, by our author, as an emblem of her personal stylistic language. At the same time, Tina is able to pass on all her work an expressive potential which is also determined by her mastery in performing the various performance techniques. The figures that our artist managed to bring out in the last decade, both from her tireless pictorial and sculpture evidences in this recent phase, transformed into something new and tangible, but also valuable and functional at the same time.
Her recent artistic developments have, in fact, converged towards a further compositional matrix: jewelry. Her approach to this experience today has not happened by chance, but by means of an analytical study on the formal possibilities inherent in the practice of modeling in the goldsmith art: from the lost- wax casting to precious materials. Even before pursuing this approach, Tina has ventured into an endless elaboration of preparatory drawings, creating countless pieces of jewelry. Her unprecedented talent to the sketch could easily be equated to the traditional creative process adopted by the artists of the Renaissance, not surprisingly when the link between the visual arts and jewelry began to strengthen. In this regard, one need only recall the work of great masters such as Donatello and Cellini.
As a result of this ongoing investigation, practical and theoretical, we can see in the current work of Tina a gradual transition of the patterns of the wings, already present in his painting, and all the other elements of an informal kind of matter into pieces defined through articulation of pendants, necklaces, bracelets and rings. Each object created has its own uniqueness; in that Tina wanted to preserve her authenticity: an author never true to herself and therefore directed towards a happy creative discontinuity. The various pieces are, at the same time, with exceptional lyrical emphases determined by virtuous graphic developments . Creativity, often anti-naturalistic, is shown thanks to her renewed aesthetic inclination intended to the affirmation of the beauty
As the realistic element seems to be relatively put aside , you cannot not remain fascinated by the primitive conceptions, the roots of "primitives" are accompanied by a unique poetry . Her current works of jewelry are not exempt also from unique material combinations in which we highlight modern colour styles . All of Tina’s production is pervaded by an idyllic view of imaginative flavor which perceives all her sensible universe, made up of emotions and feelings that feel only a strong desire to become something concrete, achievable, and then become immortal as a clear sign of a great passion for the multiform world of art.