Stefano Loria’s paintings are an evident testimony of how the end of the century abstraction developed in Italy. He makes living together, inside the same canvas, figurative elements camouflaged together with informal backgrounds that overlap on different planes so as to create a perspective movement. Since the associative work of the various elements of the painting is an operation devoid of any decorative component, it takes on a critical distance in itself. For Loria, assembling different forms is not a scientific process, but an operation of criticism that places the sensuality of forms in a territory between science and interpretation. Stefano Loria identifies the abstract expression with the drive and attributes a value of interiority to the drawing. The two elements, considered in a complementary sense, acquire meaning not individually but precisely by virtue of their coexistence on the canvas.
Extract from the criticism of Demetrio Paparoni on Stefano Loria from the catalog “Personal Effect”