Exhibitions, Italy, Roma, 10 October 2017
The journey
project by Alberta Piazza and Giuliana Silvestrini
"The journey" is the theme that gives the title to Alberta Square and Giuliana Silvestrini's exhibition, close and complementary in expressing themselves on this theme. The trip, especially the one away from the tourist destinations, unites these two artists who, for their own sake, have found an ideal of life that meets their need to know and experience.
Alberta Square constructs his speech mainly through dreamy images and so on the exhibited charts he represents a mixed vision technique, a sort of flashback of the journey, regardless of the medium on which it is because it is understood as a path not only physical but also psychological through the various situations that make up the experience. His works thus describe the path of images: they are imprinted in memory and become fragmented landscapes or destroyed forms and are subsequently reworked into the unconscious. Right from here the artist's hands recover them because they are represented with various materials whose processing gives the sense of the transformation that took place in time and space. In practice, the artist represents in his works the mental path of knowledge by using matter as mediator. These are abstractions that are the outward projection of his intimate world, real open forms for which the spectator is tempted to make subjective interpretations. What Alberta Square represents is therefore the journey in its accomplishment, which manifests itself in a transformation that is always in the way of what she, an experienced traveler, has always felt to have on her own and has chosen as the theme of her works. This idea of the transit of matter and mind from one state to the other is the leit motiv of Alberta Square, and we find it in each of its creations here as in any technique you use. In "TRAVERSAR", the title is an integral part of the installation consisting of a rusty metal mesh and a "true" green lawn, sometimes watered by the artist's hand, to keep the grass alive, a symbol of hope. Rusty iron, on the other hand, represents what is tiring in an attempt to change an inadequate situation while the lawn becomes an image of the transformation that has taken place, the final synthesis of the reasoning begun by the title. The same concept is found in oxides on fabric, which Square has literally "exposed" to the weather to get changes (animal prints and excrements, iron rust, rain acidity). Here the meteorological elements have written about the basic material a history and this story is, this time, that of a state transition, a transformation: a journey, precisely.
The most instinctive, however, is the vision of the journey expressed by Giuliana Silvestrini, which gives the theme a more "committed" interpretation: its journey is, in fact, the risky one of the migrant to the land that represents for him the goal, social redemption economic. Nothing rhetoric in its bottom line but much to emotion: the migrant is symbolized in the "metallina" (the gold and silver fabric with which new arrivals have just been taken off the bar), which becomes the protagonist of a video on display, as a symbol of travel and the desire to know and grow, man-made needs. It's no coincidence: the artist has a past as an adventurous traveler, always hunting for difficult to reach places and therefore not interested in mass tourism. His own life can be identified with the constant shifts dictated by the desire for research and by an ingenious curiosity. The desire to "experiment" of Silvestrini is thus synthesized in the figure of the migrant, not in the widespread inflatable and pietistic interpretation of the miserable need of help and care but in a vision (rather than humanitarian), "humanistic" that wants a symbol of knowledge. The metal then becomes, in the artist's imagination, a body that has embarked on a journey towards its own realization as an individual, with all the rights that lie to him and the possibility to realize his dreams. Also work in acrylic and bitumen
represents immigrant figures, this time obtained by reworking a repertoire photo. But here the choice tells us something more than the artist. The material comes from the earth, from its very own gut, which are as deep as Giuliana Silvestrini's way of expressing the emotions of life. On the same line are the other cards on display, "Impronte" of disused clothes on sheets and sheets of paper, traces of the humanity that they wear and use to touch them with their own body and making them unique, identifiable. It's a m
project by Alberta Piazza and Giuliana Silvestrini
"The journey" is the theme that gives the title to Alberta Square and Giuliana Silvestrini's exhibition, close and complementary in expressing themselves on this theme. The trip, especially the one away from the tourist destinations, unites these two artists who, for their own sake, have found an ideal of life that meets their need to know and experience.
Alberta Square constructs his speech mainly through dreamy images and so on the exhibited charts he represents a mixed vision technique, a sort of flashback of the journey, regardless of the medium on which it is because it is understood as a path not only physical but also psychological through the various situations that make up the experience. His works thus describe the path of images: they are imprinted in memory and become fragmented landscapes or destroyed forms and are subsequently reworked into the unconscious. Right from here the artist's hands recover them because they are represented with various materials whose processing gives the sense of the transformation that took place in time and space. In practice, the artist represents in his works the mental path of knowledge by using matter as mediator. These are abstractions that are the outward projection of his intimate world, real open forms for which the spectator is tempted to make subjective interpretations. What Alberta Square represents is therefore the journey in its accomplishment, which manifests itself in a transformation that is always in the way of what she, an experienced traveler, has always felt to have on her own and has chosen as the theme of her works. This idea of the transit of matter and mind from one state to the other is the leit motiv of Alberta Square, and we find it in each of its creations here as in any technique you use. In "TRAVERSAR", the title is an integral part of the installation consisting of a rusty metal mesh and a "true" green lawn, sometimes watered by the artist's hand, to keep the grass alive, a symbol of hope. Rusty iron, on the other hand, represents what is tiring in an attempt to change an inadequate situation while the lawn becomes an image of the transformation that has taken place, the final synthesis of the reasoning begun by the title. The same concept is found in oxides on fabric, which Square has literally "exposed" to the weather to get changes (animal prints and excrements, iron rust, rain acidity). Here the meteorological elements have written about the basic material a history and this story is, this time, that of a state transition, a transformation: a journey, precisely.
The most instinctive, however, is the vision of the journey expressed by Giuliana Silvestrini, which gives the theme a more "committed" interpretation: its journey is, in fact, the risky one of the migrant to the land that represents for him the goal, social redemption economic. Nothing rhetoric in its bottom line but much to emotion: the migrant is symbolized in the "metallina" (the gold and silver fabric with which new arrivals have just been taken off the bar), which becomes the protagonist of a video on display, as a symbol of travel and the desire to know and grow, man-made needs. It's no coincidence: the artist has a past as an adventurous traveler, always hunting for difficult to reach places and therefore not interested in mass tourism. His own life can be identified with the constant shifts dictated by the desire for research and by an ingenious curiosity. The desire to "experiment" of Silvestrini is thus synthesized in the figure of the migrant, not in the widespread inflatable and pietistic interpretation of the miserable need of help and care but in a vision (rather than humanitarian), "humanistic" that wants a symbol of knowledge. The metal then becomes, in the artist's imagination, a body that has embarked on a journey towards its own realization as an individual, with all the rights that lie to him and the possibility to realize his dreams. Also work in acrylic and bitumen
represents immigrant figures, this time obtained by reworking a repertoire photo. But here the choice tells us something more than the artist. The material comes from the earth, from its very own gut, which are as deep as Giuliana Silvestrini's way of expressing the emotions of life. On the same line are the other cards on display, "Impronte" of disused clothes on sheets and sheets of paper, traces of the humanity that they wear and use to touch them with their own body and making them unique, identifiable. It's a m
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