Rolinda Stotts
BELLA ROTTA
ORIGINAL. STUNNING. BEAUTIFUL. BROKEN.
Bella Rotta is the name I use to describe my technique. It is Italian for "Beautiful Broken." In order to get the effect of extreme age and texture, I use a ten-step process that allows me to shape my work to give it the essence of having survived centuries. I start by making my own canvas. When the canvas has been properly prepared, I am ready to paint using only oils. Once the painting has dried, I create "breaks" in the painting with my hands. Then I adhere the painting to a self-constructed wooden frame and shape edges to give it a torn look. I want the image to look like you found an amazing mural in Italy and discovered a way to bring a piece of it home.
I will continue adding more oil paint either in very thin applications or with a bold palette knife. I want there to be an element of imperfection in my work. To have things be imperfect gives a little grace and a sense of freedom. Only through this freedom can we attain a sense of calm. I want to feel that calm myself, and that’s why I paint. In my art, the cracks are real; it is not a "crackle finish," and I encourage people to touch and feel the work. Most people are drawn to the tactile nature of the paintings and I encourage that sense of touch.
ORIGINAL. STUNNING. BEAUTIFUL. BROKEN.
Bella Rotta is the name I use to describe my technique. It is Italian for "Beautiful Broken." In order to get the effect of extreme age and texture, I use a ten-step process that allows me to shape my work to give it the essence of having survived centuries. I start by making my own canvas. When the canvas has been properly prepared, I am ready to paint using only oils. Once the painting has dried, I create "breaks" in the painting with my hands. Then I adhere the painting to a self-constructed wooden frame and shape edges to give it a torn look. I want the image to look like you found an amazing mural in Italy and discovered a way to bring a piece of it home.
I will continue adding more oil paint either in very thin applications or with a bold palette knife. I want there to be an element of imperfection in my work. To have things be imperfect gives a little grace and a sense of freedom. Only through this freedom can we attain a sense of calm. I want to feel that calm myself, and that’s why I paint. In my art, the cracks are real; it is not a "crackle finish," and I encourage people to touch and feel the work. Most people are drawn to the tactile nature of the paintings and I encourage that sense of touch.
