The artistic personality of Letizia Zombory gives us an opportunity to observe the unfolding of a delicately poetic sensible world that she encounters in which an organic development of forms converge with numerous constitutive factors as principles of property identities unfold.

Our artist’s painting proposes in ‘categorically’ relevant terms of surreal expressive synthesis (sheltered, therefore, from the surrealistic expressionistic ‘stylistic’ cage). It constitutes the strong point of Zombory’s painting that by leveraging authentic source of feelings, it manages to propose a ‘representation’ that is anything but approved by the reality that surrounds us.

A dreamlike significance is established, which allows the artist to project herself with her mind in past seasons of history, interpreting the significant essence of moments of life of those models of civilization that preceded us. This allows us to discover the reality of things you do not find, but with a substantial modification of moral accents, only to simplify specific customs, linked to, in fact, the contingencies of the times. This very particular relationship underneath it, Zombory builds the full-bodied and creative image of her convincing story that is, at first glance, easy to read, but which it is necessary to carefully examine all its parts (even the smallest ones) to grasp the profound meaning of a narrative that can reveal motions of the soul and also of anxiety for knowledge.

Letizia Zombory is a human with rich experiences, the fruit of which she distills into simple and convincing touches, combining past and present against the background of a prevailing imaginative consistency. Her artwork gives strength to narration , it is the spirit of ‘representation’ that distinguishes the entire development of the story through images. And, in fact, our artist does not need to resort to one image that conveys the consistency of a ‘depiction’ of slavish adhesion to phenomenal reality, since she appropriately distinguishes between ‘portrayal’, which is the ideal reference to things, from the ‘representation’, which is, instead, the faithful transposition and, very often, also cold and anonymous.

Zombory’s painting is anything but anonymous: it is characterized in a way specific and defined, placing itself in the sphere of a figurative practice that finds distant roots and is highly prestigious, such as that of, for example, distinguished fullness of content of the work of Laurence Stephen Lowry, an artist who knew how to interpret the moral and social relevance of his time, leaving him a conspicuous and rich interpreter of the moral and social relevance of his time.

In the same way and evidently with the distinctive and specific traits of her own personality Letizia Zombory accomplishes a feature of similar historical significance; and it’s precisely for these reasons that it seems right to us to propose her personality with evaluative and fruitful attention, since her works know how to give back to us an image of ourselves, an image deliberately filtered by the veil of historical narrative transposition.