"There is a live material which accepts the challenge of complexity and which transforms it into richness, a superior synthesis. It is possible to move in the ocean of material without having to take refuge in a safer port, which is cold, neutral and lacking in vitality. It is also true that the overloading, the saturation and overcrowding of materials, information, and signs produce panic, dissuation; but from this storm of materials the world may also be extracted . To rove between abundant and multiform materials and transform them to harmony. To make ardent synthesis. Making ardent synthesis means that flying on the wings of magic and luminous experience, the more you can touch energy as a principle of life. It is the ecstasy of the material; leaving the stasi of the material, liberating it from heaviness, from necessity, provoking pleasing material. "It signifies casting thought into the category of life , says Deleuze, never the contrary" (F.Bolelli). "An awakening of the drowsy potential of things" (C. Baudelaire)

Alessandro Pitré

Starting with expressive force and the sensorial density of materials often associated with writing as a metaphor of memory, I look for personal and collective references . I fix the traces and document the stratification of a society in which the speed of movements and time always increase. The fruitfulness of scientific and technical innovation rapidly cancels the past, leaving a sense of emptiness and rootlessness. I contrast the symbolic intensity and the vitality of materials marked by use and by time, oblivious of a recent past which has not had time to become fixed in the collective memory. I also try to explore the relationship between men and objects in the context of pre-technological society, particularly in rural culture, which, while belonging to a recent storic past, is amply removed from the collective memory. For example, a hand-woven cloth could have begun life as a sheet, then became after countless darnings and patchings, a sack for grain, successively being transformed into aprons , to finally become dish-cloths, but always to complete exploitation. The successive degradation and manipulation does not lessen the objects' dignity, but they were , on the contrary, considered as natural and even "moral" interventions. The economy of rural culture was based on saving and total re-cycling. In this social structure an almost "sacred" respect of objects, determined by need and poverty, permitted a balanced co-habitation with the eco-system. Objects were precious because they were rare, and survival depended on economic resources. Paradoxically objects today are no longer precious because they are abundant, but for survival we must re-consider our relationship with them. Therefore I explore aesthetics spontaneously born from rural culture , and using the same logic in the realization of my works. Our relationship to objects has become banal and impoverished . With amazement I see the possibilities that they have of transformation, I seek to render their value by offering new life and a new function.

Rosanna Del Prete



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