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"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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