Enzina Fuschini

Ian Welland meets this amazing artist at her Dorset studio and discovers the real passion for art that is a combination of mind, heart and soul.

Written by Ian Wellend
Art of England magazine, April 2011 issue

These are sad times for the artist and designer Enzina Fuschini. In private, Enzina is in deep mourning for her late fiancé, the composer musician Gerry Rafferty who very sadly passed away on 4 January; however, I am finding Enzina blessed with an incredible strength and resolve. The candle burns forever bright for her memories as well as her quest and she has already produced a breathtaking tribute to this great man that I can only describe as being outstanding in both execution and sentiment. As a tribute, one of an intended series of paintings, the first is stunning and moving; as art, it is compositionally perfect. As I walk up the stairs to Enzina’s studio office, I immediately come face to face with the familiar work The Blue Lady and am greeted with a very warm welcome indeed…

How would you describe your art?

My art is passionate, a balance of energy. I like to use all the frameworks that have been carried from traditional art but create and expand. It’s about life and bringing through divine support I feel from God. In my art, I believe in love, beauty and acceptance. There is no room for conflict or confrontation.

You are originally from Italy, the home of fine Renaissance painting?

I was born in a tiny hamlet called Matierno which is geographically close to Salerno, south of Naples. Surrounded by a traditional Italian way of life, somehow I knew this was not for me. I wanted to be an artist aged just six and it was a matter of ensuring that I did everything to make that happen. This was an exciting time.

You studied hard?

Yes, I knew I could draw, but it was important to Ian Welland meets this amazing artist at her Dorset studio and discovers the real passion for art that is a combination of mind, heart and soul receive the teaching and obtain all the right skills that would set me on my way. I studied at the Salerno Art Institute, specialising in lithography, etching and ceramic techniques. This was where I first realised that art could also mean design. I also was honoured to work on mosaic and fresco restoration at the Sovraintendenza delle Belle Arti de Roma. In addition to my degree in lithography, I was presented with an Honorary Master of Art degree from Florence Academy. All art opened up in front of me.

Tell me about your first exhibition?

This was in 1973 in Milan and was followed by a number of other exhibitions over a seven year period in Italy and then across Europe. Over the last thirty years I have exhibited across the world. I have lived in Italy, Paris, New York and I now reside in Britain. Each place and the people I meet have played some part in my creativity. Which artists have influenced you? The great masters of course, of which there are many – Matisse, Picasso, even the great Renaissance artists. But the famous surrealist artist Giorgio de Chirico (1888 – 1978) stands out. I first met Giorgio in the mid-1970s and he expressed a tremendous interest in my work. So much so, he acquired two of my works for his personal collection. In 1988 I presented a solo exhibition in Rome marking Giorgio’s centenary of his birth, which was a privilege and great honour as a mark of my esteemed respect.

How do you go about creating and undertaking your paintings?

Ideology plays the biggest part. From my ideas to materials I use, I have a system of beliefs. I use natural materials, including linen canvases, real-hair brushes, ochre and temperas. My palette is unique. I am a very organic painter. I am an organised painter. I prefer a very smooth canvas and my approach is structural in terms of composition and selection. Geometry is vital and creates spatial balance. Whilst my ideology could go randomly through in terms of subject and associations, from a painting position I am true and honest throughout. I believe the canvas deserves this attention. I work with primordial-based ethics, that is to say, things that have evolved from the beginning I embrace in order to continue their place and value today.

Would you say your work is surreal?

I would not always say so but others may disagree and that is the beauty of looking at art. I have a view; you have a view, Ian. At the end of the day, the art is about portraying an emotion, a scene or situation. It is a celebration of life and blessings. Colour can also act as a way of not just displaying emotion but also character.

‘Matierno’ (2005), which in my view is a great work, certainly does this?

When I painted this, I was experiencing a rage, a rebellion almost. I was angry. I wanted to react and needed to explode. Whilst the scene can be said to have tranquillity, particularly in the centre, what the painting is actually doing is providing you the viewer with a chronicle of my life - a path, a journey. The centre yellow haven is my birth, but then there is a rush from the hillside through my home village to the built-up solidity of life. The tension can be felt even now when I view this painting, but the painting is very important to me.

I see the central yellow haven as the destination as well. Do you agree?

You are right, Ian. I am being drawn back toward it. I feel a divine support again so perhaps as God has set me on my journey; he also knows where it ends.

I am familiar with ‘The Blue Lady’. I see this as one of your signature pieces. It is elegant and feminine…

This was painted in 2002 and has become very well known. I have exhibited the painting in London and elsewhere. You have identified lifestyle characteristics that I intended and the work is certainly immediate. I wanted the viewer very close in, almost about to be told in whisper a secret! Let’s now turn to your latest work.

I understand this is the first of a series of paintings in tribute to your late fiancé, Gerry Rafferty?

“I miss you” was Gerry’s final message sent to me shortly before he died. Gerry and I had a remarkable, special time together and, although sometimes it could be challenging for both of us, I was blessed to know him. We were true soulmates. From the moment I met Gerry in a London café to the point he passed away, we were totally connected and we will always remain so. The painting shows barriers that, in turn, we overcame together and his gaze, matched with spiritual understanding, shows that Gerry was clear on my love and devotion. This love and devotion was equally returned and never in doubt. We were both artists and this in itself created honesty and deep respect.

You both understood the need for each other’s creativity, which, I believe, is shown in this painting?

Gerry was a composer, a musician. When he felt the need to write or play music, I fully understood. When I needed to paint, he totally understood. People that are not creative or artistic have no grasp of this situation, which can create frustration. Gerry was a patient, reflective man, but he was also, at times, an exciting impatient artist and that was just part of his wonderful qualities. Yes, the painting does show this understanding.

Gerry also liked art?

Gerry certainly did and collected art. His and my love of art showed unbroken connectivity. Gerry was also a great learner and we used to enjoy many hours watching documentaries on the master painters. Matisse was a favourite. There was always a thirst for knowledge.

I sense you are already on the verge of a series of paintings celebrating your time with Gerry, and also taking this further?

Your instinct is absolutely right, Ian. I am feeling fine about this new creative surge and it is, of course, helping me to recover from my loss. Gerry will always be with me and this brings comfort. As his music continues to inspire, so will my memories and his music allow me combine with my art to express the voice of my heart. I know that within each painting, and indeed with I Miss You, my deep sentiments will travel to him and, in return, I will receive.

Enzina, as an artist you are rightly acclaimed, which is well deserved, and have a tremendous oeuvre of work with many notable pieces that will always stand out. It has been wonderful to speak with you at this time, and also a privilege to share your eulogies of Gerry Rafferty and be part of your artistic lament. I wish you well and I very much look forward to viewing your forthcoming work and speaking about your career again.