The images of her women are powerful, rendered through essential forms and volumes

 

but dense with substance and meaning, not too different from the male ones that

 

may appear here and there, in the foreground or background, in her works. A woman's body,

 

the color of earth, the color of air, the color of pain and passion, always unites the idea

 

of flesh with the idea of her soul. A man's body, of the same or a different color,

 

is almost always the body of another.

 

The bodies painted by Consuelo Rodriguez are bodies that relate to the world, that

 

relate to the other. Faceless, not overly defined, they allow the viewer to recognize themselves

 

in them, to read in them lived situations, experienced sensations, something of their own, whether present or

 

past.

 

The work that gives the exhibition its title is among her most recent: as the artist herself explains, it was

 

created in the summer of 2023, in Germany, during a study session with Professor Marcus

 

Lüpertz. It is part of a series of previously undertaken works concerning the

 

nature and complexity of various interpersonal bonds and plays with the emphasis and meaning

 

of the words "legàmi," "lègami," and "slegami," from which the title itself derives. Dualism,

 

ambiguity, the contradictory nature of feelings, bodies that intertwine like tree roots

 

drawing strength from it, but simultaneously remaining imprisoned by one another,

 

compromising their autonomy, their freedom of movement, introduce the

 

main themes of this exhibition, which investigates the encounter that can become conflict,

 

desire that becomes possession, love that becomes suffering.

 

Around this work, the artist has chosen to bring together some of her most significant paintings from the past twenty years.

 

Despite differences in technique or tone,

 

they also connect with each other in different ways, creating a sort of large frieze,

 

offering the possibility of further exploration into female identity and being in the world.

 

The use of sand, quartz, bitumen, and occasionally gauze and paper within the

 

paintings contributes to creating a dialectic between the fluidity of the brushstrokes of pure color and the

 

density of the material applied with the palette knife, almost as if to provide the viewer with a

 

tactile sensation that adds to the purely visual one, suggesting that something tangible is added to something

 

intangible. In some cases, sand is contrasted with bitumen,

 

like idea and reality, "essence" and "form." In other cases, a garment replaces the body, but it is

 

"a garment of the soul," a garment that does not cover but reveals, not concerning the surface, an

 

external aspect, but rather an internal aspect, an interior dimension.

 

Lately, pure painting prevails over matter, and everything becomes lighter, even brighter,

 

almost evanescent, almost in a rediscovered harmony between soul and body, between self and other, between self and the world.

world.

 

Franca Marri

"s/legami" is the new work by Consuelo Rodriguez. Drawing on previous and award-winning works over the years, she has created a new language for investigating the theme of relationships:

 

romantic, friendly, family, or professional relationships. The artist analytically and artistically investigates

 

bonds of love and the profound distortions that sometimes occur within them, destined to transform into painful forms of

 

power, seizures, manipulations, and punitive silences that can even lead to

 

intense conflicts. She does not address this through psychoanalysis, but through a purely artistic approach, drawing on numerous

 

personal studies on the topic and on the experiences of others and her own, gathered throughout her intense life as a woman and an

 

artist. Each work on display, although it must be considered by the viewer as a unique work due to its diversity of technique and content, is inevitably connected to the others, but at the same time it is always interrupted by the presence of a disconnect, a sort of disruption of harmony that offers the viewer both a romantic dimension and a twilight sensation.

 

The presence of the first painting, titled "s/legami," will be the glue that will constantly intersperse

 

throughout the exhibition, demonstrating how each work can create a connection, a reflection, or

 

a rejection with the viewer, leading them, in the latter case, to the next work, even if it does not belong entirely to it.

 

In this way, the viewer is invited to question and observe themselves, both in their own gestures and in their

 

individuality, faced with individual works that can attract or repel them depending on their

 

personal projections and/or interpretations. The viewer is therefore asked to engage with the singularity

 

of the work so that it can initiate a journey within themselves. Every artistic work, on the one hand, can

 

connect the viewer, but on the other, it can also ask them to disconnect from others during their

 

approach. The artist, for his part, also engages with the work during and after its creation,

 

highlighting personal lights and shadows in an ongoing dialogue between himself and the painting that often becomes a silent and painful confession. Representations of women and men then become intermediaries,

 

seeking a sort of encounter even though they are destined to remain disconnected.

 

In this exhibition, the artist aims to bring together, not consolidate, the best works of his career, in a

 

multilingual communication that ultimately finds a universal language, made up of many questions, in a

 

game of mirrors that continually renews itself, recognizes itself, and shatters, only to then reshape itself into

 

something else, like a sort of eternal return.

 

Painting and poetry, action and thought. These characteristics of Consuelo Rodriguez's artistic personality run parallel, bringing to fruition two distinct needs: action and meditative calm. Just as calm, reflection, and a slow pace characterize her poetry, her painting is powerful, dense, and tormented, driven by urgency and expressed through gesture.

 

Consuelo Rodriguez imbues each canvas with a disruptive force, expressed through incisive gestures that seek their imprint in color and line. Overlapping layers of material create distinct masses of material, from which emerge, underscored by a powerful brushstroke, bodies moving in a timeless space. They are figures of men and women devoid of any individual connotation, fleeting apparitions of a thought or a dream. Figures that make energy and movement visible.

 

Her painting is not easy to define: it oscillates between the informal and the gestural, without presuming to choose between abstract and figurative; rather, it blends the modes we usually distinguish. From smoky backgrounds filled with color spread across broad, bold brushstrokes, bodies appear that Consuelo

 

Rodriguez explores and defines with quick charcoal marks.

 

In her pictorial experiments, dating back to the early 2000s—2004 to be precise—the mark serves to maintain a connection with the figures' identity: Samurai, The High Priestess, and The Oriental embody the profound meaning of their roles. They are hieratic figures emerging from the colored background and clearly identified by their distinctive characteristics. These are still descriptive works, a prelude to the solutions that will soon become the hallmark of her painting. The figures are outlined by a charcoal grid, a sort of cloisonnism, which outlines and defines the bodies, capturing them and placing them in pose. The colors are bold, ranging from cool greens and blues to warm reds, oranges, and yellows—violent, bold hues that light up the figure and fade to darker tones in the background.

 

What drives Consuelo Rodriguez's creativity is the need to explore the profound truths of existence within her thought. "What I care about is finding the link between cosmic harmony and the individual principle," she says, "I seek it in painting and poetry. I pass through the feeling of love," the only means to unravel the theater of life, a title the artist gives to the mature cycle of 2019-2020, which we will discuss later.

 

Following these lines of thought, the artist gradually abandons the linear grid of her early works to immerse herself in color, often earthy, pigment, and matter; the drawing dissolves and the form is constructed through masses. It is a gradual process, the dense and violent sign still remains in Lilibet and L'attesa (2004), canvases in which the bodies recall the Mother Goddess from which everything originates, while already in Adele Bloch (2004) of Klimtian memory, it disappears leaving space for the coloured masses. The limbs appear disjointed, built from distinct blocks, with a clear sculptural reference; the elongated necks almost as if they were swans disorientate and refer us to a "primitive" imagery. This is followed by works such as Conoscersi quanto? (2007), in which two figures, a man and a woman, placed on two different planes seem to ask existential questions about themselves and their relationship with the world. Or La femme folle (2007) and La femme fatale (2008), two female figures who materialize emerging from a smoky background, proud of their sensual body, whose sinuosity is underlined by luminous accents in the first case and by dense pink brushstrokes in the second.

 

By now, the contour line is no longer functional to the construction of the figures, but becomes complementary, a simple underlining. The entire composition is more nuanced and evanescent, almost as if the figures were a fleeting yet present memory in her mind.

 

The canvases of the early 2010s speak of the search for identity and relationships with others. Titles such as Finding Oneself (2010), Meeting the Other (2010), and Abandoning Oneself (2010) are already indicative of the diverse human conditions the artist seeks to represent. For this reason, we seem to see in the female figures many self-portraits, reflecting various phases of the artist's life, figures who not only question themselves, but who yearn to break free from imposed canons to find the freedom seen as a goal. The large canvas The Finish Line (2008) is exemplary in this sense, in which the bodies seem to run and reach out toward an imaginary line. Here, the brushstrokes are even quicker, and dynamism prevails over the fixedness that had characterized most of the figures until then.

 

The tones are his favorites, earthy colors that cover a range from sienna to ochre to brown, with accents of light.

to give greater impact to the female body in the foreground.

 

It's impossible to understand Consuelo Rodriguez without understanding that throughout her career she has sought to conduct a poetic exploration of human emotion, representing it in those bodies struggling in confined spaces. Lightness of Being (2009), Sensuality (2008), Finding Oneself (2010), and Complicity (2012) are some titles that introduce us to the poetic world of the artist, who simultaneously writes about love, couples, and complicity.

 

Some works from 2014, Il Che, Natura morta, and Dissolvenza, all playing with white, ochre, and black, are particularly interesting. The titles have no connection to each other and demonstrate that they are three completely autonomous works, united by the attempt to confine the entire composition within a specific space, a square. Looking at the three paintings, it seems as if figures and objects are taking shape from a block of marble or stone, coming to life following the principle of freedom that Consuelo Rodriguez embraces in all her pictorial and poetic works.

 

As if attempting to engage with her sister art, sculpture, Consuelo Rodriguez gradually tackles, always on large-format canvases, the monumental bodies of men and women that occupy

 

the entire representational space. Faces are undeniable, nor is there any trace of identification. Everything unfolds outside of a specific space and time. The composition must convey a state of mind, it must engage emotionally, it must speak of humanity.

 

Working on such large canvases requires considerable mental and physical effort. The layers of pigment mixed with matter are applied with broad brushes and spatulas, with quick, sweeping movements that instinctively follow the energy that springs from her need to express her emotions on canvas.

 

Hers is an instinctive gesture, governed only by the use of diverse materials, which forces her to adhere to certain precise canons: the use of sand and quartz dust allows her to amplify the perception of the magma from which the bodies take shape. The inclusion of cotton or gauze fabrics, in 2016, distances her from figuration and brings her closer to abstraction: it is only the material that offers a reference to reality, in a composition in which the body is no longer present, but rather the idea of it. We are talking about the cycle "The Vestments of the Soul: The Space Between." These are thoughtful and mature works in which the garments seem to come alive, driven by vibrations inherent in the material itself. The effect is engaging and moving.

 

A turning point came between 2019 and 2020 when, abandoning color, Consuelo Rodriguez took up the pencil again and sketched those same female and male bodies against a white background. Here, drama becomes silence and dull pain. The figures are headless, just bodies. They are masks in a play, staging a Theatre of Life. Ultimately, as Mark Rothko said, paintings are "theatrical works" and the forms are the actors and actresses. Nine works traced in graphite. Nine figures unidentifiable except for a detail or amulet the artist adds to the canvases: a pendant, a ring, a cane, a tie, objects/symbols that protect them, strengthen them from the outside, for better or for worse. Nine seated figures, from behind, facing forward, with arms folded, hanging at their sides or behind their heads. Men and women busy living.

 

One more leap and even the sign disappears. The totality of light that is white erases any connection to reality and brings the artist closer to that elsewhere that his figures, bodies, and self-portraits have so desperately sought, struggling on canvas. Now only ripples appear on the white canvas, sinuous curves sculpted by mixing different materials: old sheets, glue, and plaster. The series is titled Alchemic Soul.

 

Those peaks and ravines are a metaphor for our lives with their ups and downs, their joys and sorrows; they represent our falls and rises. From one of these works, a group of engineers coordinated by Giuseppe Cautero of the Instrumentation and Detectors Lab at Elettra Sincrotrone investigated and measured the numerical relationships of light and shadow derived from the variegated surface, then created software that translates the work into acoustic emissions, which in turn translate into sounds of the soul.

 

Consuelo Rodriguez demonstrates her need to transcend figuration to reach a world

 

"minimal," as she calls it, forcefully embracing the informal.

 

 

"I wanted to focus on concepts such as the superfluous (so present in our society) and the essential," he says, then explains the process: "First I used quartz powder, pigments and colored acrylics, then running water in three different phases. The flow of water at different temperatures on the canvas causes erosion on the forms and figuration. Water to remove, reduce and simplify in order to return to the origins,to the essence of living, seeking the sacredness of the little/much, finding one's own places of the soul.

 

We search in vain for signs and forms in Luogo dell'anima 1, 2, 3 (2021) and in Tierra 1, 2, 3, 4 (2022). Only color, which allows her to unite with the air, the sky, and the earth, without intermediaries. These are her latest experiments.

 

Consuelo Rodriguez has taken up pigment again. Perhaps her next exploration will allow her to make peace with humanity? Will her curvaceous and intriguing figures reappear? Perhaps through sculpture?

 

What is certain is that she never truly forgets the sign. Throughout her pictorial career, Consuelo Rodriguez has accompanied her creative cycles with series of pencil drawings on paper. Created in one go, they have the freshness of an idea just sketched, or rather, of the monad, the first unity from which thought then takes shape. And precisely for this reason, I like to consider them finished works in which they are enclosed, as in a cocoon, all the elements the artist will interpret on her canvases.

 

Federica Luser, 2023

Trieste

In Consuelo Rodriguez's artwork she combines quartz dust, sand, iron oxide, gold, lava and textiles with colour: in an alchemy of materials and gestures she gives form and life to her inner visions. In her works, the depictions of female and occasionally male bodies appear from the depths of a distant but strongly present memory, in alternation with various suggestions in which desire, hope, the painfulness of one's own acceptance are permeated by feelings. Now, Consuelo Rodriguez, painter, sculptor and poet from Trieste, is presenting a new series of works at the exhibition "Le vesti dell'anima: the space between...", which opens tonight at 6.30 p.m. at the Lux Art Gallery in Via Rittmeyer, with a presentation by Darius Bork, Director of the Freie Museum in Berlin, in anticipation of a scholarship that will take her to Beijing.

Rodriguez studied at the Scuola Libera di Figura with the Maestro Nino Perizi in Trieste and then deepened her knowledge at the School of Visual Arts in New York and at the Kunstakademie Salzburg with the Spanish hyperrealist artist I. Quintailla and the Viennese actionist H. Nitsch. In Chicago Rodriguez had the opportunity to work on large formats with the Zhou Brothers.

In the exhibition that opens today, the large-format works present themselves with a strong new expressiveness: a series of black canvases is the introduction to what comes next. The dissection, the erasure of the bodies, to refer instead to the clothing: a clothing that in turn refers to the soul. The bright light returns, the white already protagonist of many of her works, mixed with fabrics, nets, various colored materials to give something invisible and heavy plasticity and depth: "In these last works my interest has shifted to the human essence, to the soul. I wanted to express its invisibility, but also its colour, movement, diversity, with the motif of the clothing - says Consuelo Rodriguez - "The space in between...", as the title of the exhibition says, is to point out that the indefinable space in us, as fundamental as the silence between two notes, which gives life and makes the work unique, in this case the human being. 

The works will be accompanied by verses from "Tatoo", the artist's new poetry collection, which will be presented at the finissage on Monday, January 9.

 

Franca Marri

I have known the artist Consuelo Rodriguez for almost two years. At the time, both of us were invited to a mushroom and truffle tasting in Stridone by our mutual friend, the gallerist Giorgio Parovel, and we immediately got along very well. 

Consuelo is an extremely positive person and full of joy of living. From her passionate temperament it is certainly possible to recognize her Spanish origins, but she is still Italian, elegant and noble. 

This fusion of her personalities also emerges through her art. 

In her early works she clearly captures the wild nature, thanks to the choice of colors and the stroke of the brush, but also the sensitivity and elevation from the way of outlining the faces. 

From the very beginning I have associated her with contemporary Spanish artist Menendez-Rojas, as well as with the Italian Modigliani, who is certainly one of Rodriguez's great role models. 

It is not my intention, however, to make comparisons in the field of art history, nor to label. 

In the past, the bodies of her figures were expressed in baroque forms and with earthy colours. Her current works, on the other hand, are more abstract and reduced... we could also say more concentrated on the essentiality of form, colour and composition. The element linked to materiality should also be considered. From the very beginning, the works allowed a three-dimensionality of their own to emerge. In her latest work, this year, Rodriguez goes even further, working the material almost as if in a collage, thus reaching a completely new dimension of depth. 

The images now almost reach abstraction and the shapes of the bodies can barely be guessed at, something that in my opinion testifies to an important artistic evolution. 

I think that every painting in this series can be compared to a precious solitaire and that's how every work is also presented in the exhibition. 

Reduction rather than abundance, concentration rather than dispersion... The evidence of expressive capacity and the complete freedom offered to the imagination allow the observer to arrive at his own interpretations, which is why the artist herself, in this exhibition, consciously renounces the choice of titles. 

The images are accompanied in textual form only by some verses from her new collection of poems, TATTOO, thus giving the visitor the opportunity to enter more deeply into the artist's world. 

Darius Bork

 

Curator of the exhibition

 

Consuelo Rodriguez's painting is part of an 'open path' in which the colour - largely disfigured by the perimeter sign of the charcoal - tries to give an answer to the floods of the bodies/members as we see in her works. 

 

Almost always, the artist's canvases open up to an interesting synthetic solution of monochrome colour. In fact, each of her works is marked by a tonal monochrome of a scalar type that characterizes her: SOGNO CONCRETO (2013) with burnt earths; NON SENZA DI TE (2013) with violet; ANIME IN COLORE (2013) with quartz powders that exalt ochre and orange; INSIEME NOI (2013) with a strong game of vibrant and veiling reds.

 

An interesting figurative research, the one proposed by Rodriguez, which is oriented in displacing the ordinary way of seeing, enjoying and experimenting with a 'any body’.

 

By dematerializing the body, in fact, the artist arrives at two stages of learning and tracing; in which one can find a representability that finds a dichotomy between the syntheses: 'post constructivist' (simplicity of form) and 'post humanistic' (actor's and stage postures)’.

 

A centrifugal contortionism that certainly causes field waves, roundness masked by the idea of emptying the physiognomic traits to create figures, phantasms, free bodies that only have to speak, love and feel with a 'soft manierated gesture'; this last heir - in my opinion - of a research on the 'immaterial body' started, in the artistic historiography of the twentieth century, with two important people: Egon Schiele (1890-1918) with the Schielian style; Oskar Kokoschka (1886-1980) with his compositional lyricism.

 

Finally, Rodriguez denies the face and its somatic features: creating a 'hierarchy of the profane' angels living in different times, overlapping dimensions; all elements that go beyond the generally recognized sacred iconography.

 

Her pictorial language is a ritual with which the artist seems to resurrect the Venus of Willendorf and other angelic and Dionysian figures by means of research into anthropomorphic abstraction; all this to express the struggles of life, which human beings divide between good and evil: cathartic function of joy and suffering.

 

Gabriele Romeo 

 

Venice, 26 March 2016

 

Some artists have the gift of being able to express themselves with words and images, explaining their thought both on the side of listening and on the one of vision.

This is the case of Consuelo Rodriguez, who knows that words are important to spread a message but it is image that gets straight to touch the emotional side by talking to the eyes. And she is placid and "romantic" in her poems as well as she is strong, sharp and instinctive in her paintings.

The exposition displayed by Rodriguez and entitled "Not without you" is a selection of about thirty paintings realised in the recent years whose visions are windows on an inside world, visual stories that inspire a reflection on the sense of existence and on the importance of encounters. The choice of colouring materials (sand, iron and quartz powder, volcanic ash from Etna and several acrylics and pigments) reveals in advance the expressive language of her painting: strong, gestural and sharpened by the application, with spatula, of various colour layers based on an essential colour scale, which prefers red, ocher, grey and blue.

The represented subjects are always men and women with no connotation, provided with statuesque plasticity, floating in the painted background, almost seeming to trespass the borders of the canvas: the figures are outlined by colours and the apparent absence of a prior drawing creates a dream atmosphere that makes recognizability due to thin emotional allusions which arise from the artist's lyrical inspiration. The line always appears melodic, even though the artist happens to intervene with chalk lines to highlight emotional intensity. There is no reference to everyday objects: the scene is entirely devolved to weightless bodies moving in an atemporal space, with a vitality that turns into an allusive game, in a perfect composition of planes and in a careful dosing of light and dark.

The artist's attention is not paid to details nor to verisimilitude: it is focused on the act of painting itself, of digging in the canvas in search of memories, balancing fascination and narration, and being revealed in the drawing rhythm which creates figures starting from the background, taking shape in order to wonder and ask.

In this society (so-called modern), a society on a collision course since it based on a distorted use of rationality, Consuelo Rodriguez can turn thought into pictorial gesture, creating frames of dreams, showings of reflections, feelings of captivation, moving the horizon line which separates subject and object, thought and action: she recognizes in mystery and sensuality the supplies to face the winding path of sensitivity, looking at new doors opening on inside worlds and different paths which lead to the encounter of souls refusing superficiality and trivialization.

Certainly, Rodriguez looks upsetting, both on the intellectual and on the emotional side, but her art gives new life to the images of a body becoming dream, as the soul seems to move away from corporeality, presaging the possibility of the existence of that "twin" we have, that twin who lives a life entirely different from the one the body leads, reminding us how impossible it is to divide the world into subjects and objects, as well as it impossible to achieve deterministic descriptions of sensitivity.

In the latest months, after a trip to Germany, Rodriguez has added gold to her traditional palette, and she has overturned the proportion of her works, leaving the vertical for the horizontal setting: an additional disclosure, open wide - and underlined by red filaments - on new levels of breaking with constraint, conferring vision upon her life experience, where the tension between being and existing becomes a point of encounter as well as collision of two tensions.

Creative expressiveness, sign and colouristic, remains a point of encounter for souls, a personal journey starting from metamorphic femininity and setting free in recognizing love and loves, spiritual messengers as well as life mentors, sometimes fascinating, some other times severe, but always so indispensable to cry out - anyway - "not without you", as the exhibition is entitled.

 

Franco Rosso

 

December 2013

 

Her vision is based on a strong, dense, suffered painting.
An inner evolution which started when she was very young and which has led Consuelo Rodriguez to create a pondered and deeply felt language of expression which alternates between calm and profound written words and instructive gestural expressiviness of painting.

Colours is the distinctive mark in her work: overlapping colour layers in large paddle strokes with a variety of tones that range from warm browns to light blues,  blues, pinks which then returm to the warmth and sensuosness of reds; such an unprecendeted deep and dense colour gives to paintings like La femme folle 2007 or Sensualità del diavolo/ The devil's sensualitiy 2007 a meaning that goes beyond the subjects matter of the painting withuot moulding shapes but forming an impasto which projects us into Consuelo Rodriguez inner world.

Rodriguez delves into the canvass as if it were her memories she delves into depth of herself to recapture the roots of her emotions, in her pursuit of a recollection.

Thus, from these dense depths in relef, figures struggle to take form, apparitions from a never forgotten elsewhere which are ambigous and vague at first, but which then become increasingly palpable when the artist intervenes dierctly and outlines them with black charcoal, thus further highlighting the intensity of her emotions.

These are moments of intimate partecipation in which figures seem to be blocked in a suspended moment, awaiting judgment (Conoscersi quanto?/ Know each other, to what extyent? 2006 , Il sospetto /  The Suspect 2007) or frames of a dream, projections of an intense desire like in Gli amanti the lovers 2007 where the feeling of bodly and spiritural involvment is absolute and further emphasized by the crimson paddle strokes.

Men and women have no distinctive traits for the artist, they are messengers of a highly imaginative world between life and death, bearers of universal messages based on profound truths. Bodies are welghtless drifting in a timeless space stretching and twisting they are alive.

Then, when Consulo Rodriguez does not outlne her figures with charcoal and leaves her paintings free of limits and graphics contraists, then there is the turnming point an impontant chenge a step towards pictorial maturity.

It is a illusive game of merging palnes based on a strong resolute chromatic vision which gives dynamism and movement to the new compositions, like Volutta /Voluptuousness 2007 or Vento / Wind 2007 or even La madre/ The Mother 2007 which recalls some solutions of the beginning of 1900 and is therefore maybe the most narrative painting in this exbitions devoted to the artist.
In fuga /On the run 2007 represents perhaps the point of arrival in ths new pictorial phase: bodies are now feed of any constraint and seem to be lauinched into space, their dynamism pushes them out of the canvass while the skilful use of the chiaroscuros confers the right balance between full and empty spaces to the composition, the woman's body illuminated by dense white brush strokes seems to be distorted by the running while the man left the shade seems to vanish in the background like an increasingly distant memory.
 
Nothing to be added, each element is in harmony, nothing is left to chance. An intruiging and fascinating painting, captivating for the skilful control of planes, masses and light which enable Consuelo Rodriguez to reach the right pictorial balance between narrative and fascination.

La danza nostra danza/ tra la vita e a morte / noi così in bilico / tra prigioni di ghiaccio e cancelle infuocati... (The dance/ Our dance / between lilfe and death/ we are suspended / between ice prisons and burning gates) are a few lines from a new poem composed at the same time of the recent paintings which confirm the indissoluble  tie between thought and action.

Federica Luser
traduzione di Gabriella Nocentini

 

September 2007