Rabarama, born Paola Epifani, is an artist who now resides permanently in the Parnassus of contemporary art, a woman first and foremost, then a vital link with that part of the female that in the history of art has given so much to beauty. An artist who finds herself in the furrow traced by Kalypso, Artemisia Gentileschi, Sofonisba Anguissola, Berthe Morisot, Tamara Lempicka, all women who have gone beyond traditional systems, who have communicated to the world the greatness and dignity of art as a universal expression, not just a drape of the Y chromosome.
The deep sense of art at the first approach is what intimately affects our sensitivity, it is what touches the keys of interiority, which raises questions and all this becomes immediate when we are faced with the works of Rabarama, all this leads to a higher dialogue, to an existential apology.
Rabarama is a complete artist, painter and sculptor, but the three-dimensional art is her most accomplished expression, it is her touch characterizing, it is her best way of communicating.
Sculpture is the instrument with which art since ancient times has found its highest aesthetic and semantic response, the activity through which since the beginning man has sought a mimesis to give consciousness of himself in the space in which he lived.
Sculpture has pursued the most intimate existential relationships of man because it has exposed him to a direct creation compared to the material to give it a recognizable form, a form that could satisfy him emotionally making something inanimate first familiar and then immortal.
The greatest artists of history have ventured with the search for measures, with the search for perfection, with the stimulus of feeling to be expressed, the movement that a body structure can have and from here the path leads us to a wonderful journey between Myron, Polycletus, Phidias, Michelangelo, Canova, until we reach Rabarama today.
Rabarama is not far from the sculptural greatness that history has shown us and handed down to us because it is essentially an artist who tries his hand at humanism and anthropology in the strict sense, it leads us directly to understand what the connections between spirituality and those who interpret it with their own humanity can be.
It has an artistic vitality that repeats itself, it is that of the modern “humanoid” modelled on universal, ancestral values.
Rabarama traces signals, traces symbols, traces a new aesthetic language, takes us to the repetitive existential matrices that recall the poetics of the sign of Capogrossi, or even the symbolic and liberating identification of Joe Tilson, or even the chromatic linearism of Haring, in a very personal dimension that is part of a poetics of “spiritual camouflage”.
This artist becomes universal and giant in the interpretation of nature and sculptural three-dimensionality, combining the syntax of the body, the human form, to aesthetic change through superficial expression.
His statuesque changes skin, the force of expressionism is disruptive, the imagination leads man to changes in his own self that are manifested in his chameleonic and instantaneous consciousness of the world.
The humanoid of Rabarama is the primordial concept, it is the Platonic hyperuranic idea that becomes manifest, it is that moment that transcends from the concrete to the mystical, from the essence to the metaphysics.
Rabarama makes aesthetics an accent of beauty in every one of her works, she moves gracefully in the expression of form, she gives us different and atavistic moments known to the physical consciousness, she gives us a different concept every time.
The bodies that are created by Rabarama are emotional regardless, they carry attitudes that are never static even if statuesque, they have in themselves a movement in the visual effect given by the fervent inventiveness of color and the trait of the surface.
We have ancestral “positions” such as the fetal one, or meditative or even strongly loving, we have the human being who has a projection of himself, who travels towards a condition that goes beyond humanity itself, as if to be an example of a conjunction with the future, with a near reality, similar but not equal.
Rabarama is an international artist, she is an artist present in museums, she is an artist present in public places, she has now given art and modern man another mature message of the greatness of artistic expression.
Rabarama is as if it were in continuous evolution, in continuous research while revealing a proven familiarity with a clear and always recognizable aesthetic/formal signature, a virtue that can only be counted in the great figures who mark the history of art.
Rabarama teaches us what love is, he makes us live it, with the deep mystery of his works, with an immense beauty that develops from the various material paintings of the skin of his statues, of his models that have life and come out of their immobility becoming truth, becoming human function.
The bodies of Rabarama go beyond the classical statuary, they are “living beings” that have taken spiritual form, that also have in themselves the cognitive input, the rationality of existence linked to a moment that is for everyone and forever.
The objective repetitiveness of the human body that Rabarama transforms as if it were a goddess who chisels with her masterly imagination a new species of living beings always reminds us of an inner journey where wonder becomes strength before questions that will never end, that will always be present in the great mystery of existence.
Paola Epifani is a woman, an artist, who still makes us dream, who gives us beauty as a sign of immortal love.