In Lady Walking Her Dog in a Windy Day, Canevari’s use of polyethylene takes on a dynamic, narrative form, where the transparent material twists and folds into fluid shapes, capturing the chaotic motion of wind. The scene shows the figures of a woman and her dog, their forms distorted and dissolving into the surrounding wind, which Canevari conveys with jagged, swirling lines. The red eyes of both figures punctuate the composition, adding an eerie intensity. Despite the lightness of the material, the underlying tension suggests they are on the verge of being swept away by the elements.
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In Lady Walking Her Dog in a Windy Day, Canevari’s use of polyethylene takes on a dynamic, narrative form, where the transparent material twists and folds into fluid shapes, capturing the chaotic motion of wind. The scene shows the figures of a woman and her dog, their forms distorted and dissolving into the surrounding wind, which Canevari conveys with jagged, swirling lines. The red eyes of both figures punctuate the composition, adding an eerie intensity. Despite the lightness of the material, the underlying tension suggests they are on the verge of being swept away by the elements.
Rather than referencing Joan Miró, a more fitting comparison would be to artists like Francis Picabia or Max Ernst, whose surrealist compositions fragment the human figure in dreamlike and unsettling ways. Picabia’s exploration of transparency and layering in his work, or Ernst’s surrealist distortion of the human form, resonates more with Canevari’s fragmented polyethylene figures, where the material itself becomes a metaphor for both fragility and movement. The figures, held together by thin, fluid lines, echo the vulnerability of form and presence, much like the ephemeral quality of human life itself. This work emphasizes Canevari’s ability to bring industrial materials into dialogue with surrealist figurative traditions.