(…) The human body, with its mellow fragrance organic, is the protagonist of the representation, the tool flexible and sensitive of a story together and carnal ecstasy. Jara Marzulli suspending the subjects in a liquid dimension, indefinite, in order to focus the viewer’s attention as much anatomical and gestural expressiveness, as on semantic matching. While looks and gestures allude to a state of rapture and mystical charm, the natural elements, such as flowers and bees, take us back to the prosaic and tangible dimension of existence. And just this constant shift between the body and the soul, the slippage between the epidermis and the spirit, is the life-giving element of fantasy artist.

Ivan Quaroni (curator)

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His art tells of a hearing at the same time ecstatic and carnal, even stronger and moving thanks to the technical perfection that distinguishes the artist. A liquid dimension and indefinite, in which girls and women are surrounded by transparent backgrounds and dripping, a lucid and piercing expressive quality, an indefinable purity who dresses in painting, a constant game of displacements, exchange of roles between the artist he paints the subject represented.

Flavia Lanza (curator)

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Jara is all along fully immersed in a rigorous search of realism around the condition of a body. She elaborates a new experience of metamorphosis through existential traces assimilated by the skin that shows clearly all the unsolved and conflictual relationships that everybody experiences during lifetime. Her bodies are always about to become something different, to merge in each other or give themselves at the mercy of bees and other insects, to emerge through a blanket of seaweed into a vertical sea like it happens in the blue wall of “Marea” (Tide).
The extreme high quality of Jara’s work lays in her enigmatic silence and “patience” as Derrida taught us. As a matter of fact there is no outspoken drama, no display of delirium neither of the run in issue of women.

Roberto Lacarbonara (curator)