Original Art for sale | NEW CREAM
“CORRESPONDANCES” curated by Erica Massaccesi
La collezione che ho scelto di proporre fonda le sue radici nella poetica simbolista e, in particolare, nella concezione secondo cui chi ha una spiccata sensibilità è capace di intuire e riconoscere la connessione profonda celata dietro il velo del reale. Charles Baudelaire nel sonetto Corrispondenze, all’interno della sua raccolta di poesie I Fiori del Male, rivela la visione che ha del mondo e come ogni singolo oggetto che circonda materialmente l’uomo possa rimandare a qualcos’altro. Qualcosa di irreale, metafisico, mistico. La natura così è un tempio, una fitta foresta di simboli che si svelano alla vista attraverso profumi, colori e suoni. La selezione presenta una serie di opere legate tra loro da un’unica chiave di lettura: la capacità degli artisti di donare un personale sguardo della natura attraverso le immagini rappresentate, che si fanno allora dei medium in grado di leggere e rendere accessibile l’irrazionalità e l’ignoto di quelle allegorie. Se da un lato le sculture di Ivana Adaime Makac o le tele di Thomas Berra e Adelisa Selimbašić mostrano la connessione stretta tra uomo ed elemento naturale, gli specchi di Xelah si collegano al lato più misterioso, rituale e spirituale di Madre Natura. Greta Pllana, vincitrice della sezione pittura del Combat Prize nel 2016, Anna Marzuttini e Pierpaolo Miccolis propongono invece storie enigmatiche e selvagge, ricche di simbologie animali. I fotografi Tiziano Rossano Mainieri, José Luis Moreno Gámez e Sigitas Baltramaitis immortalano dune sabbiose, alghe che si muovono sinuose trasportate dalla corrente e nuvole che giocano a nascondino con il sole. In qualche modo, sembra come se parlassero attraverso le loro forme e allora la roccia diviene simbolo di uno stato di quiete apparente, mentre l’acqua comunica solitudine e vuoto. Di più difficile comprensione, rispetto alla tematica, sono i quadri di ALCE e VALENTINAKI. Qui, il protagonista è il colore, ma sempre ricollegato all’elemento naturale. In White Sand, ad esempio, il bianco è metafora del mare, una costante nei ricordi dell’artista. Nella tela infatti decide di inserire delle ostriche per palesare ulteriormente il significato emotivo di tali opere. Infine, Yolande Harris esplora il mondo sottomarino abitato da diverse specie acquatiche che vivono tra l'Antartide e il Pacifico nord-orientale. Le fotografie aprono a una comprensione nuova e attraverso l’obiettivo della telecamera, la nostra percezione si fonde con quella animale, capovolgendo i naturali presupposti fisiologici umani.
The collection I chose to propose found its roots in the symbolist poetics and, in particular, in the concept according to whom those who have a strong sensitivity can feel and recognize the profound connection concealed behind the veil of reality. Charles Baudelaire, in the sonnet “Correspondances,” in his collection of poems Les Fleurs du mal, reveals the vision he has about the world and how every single object that materially surrounds the man can refer to something else. Something unreal, metaphysical, mystic. Nature is a temple, a dense forest of symbols revealing themselves to the view through smells, colors, and sounds. The selection presents a series of artworks linked together by a single key to interpretation: the capacity of artists of donating a personal view about nature through the represented images, making themselves mediums able to read and make accessible the irrationality and the unknown of those allegories. If, on a side, Ivana Adaime Makac’s sculptures or Thomas Berra’s and Adelisa Selimbašić’s canvas show the connection tight between man and the natural element, Xelah’s mirrors link themselves to the more mysterious, ritual, and spiritual side of Mother Nature. Greta Pllana, winner of the painting section of Combat Prize in 2016, Anna Marzuttini, and Pierpaolo Miccolis offer enigmatic and wild stories, rich in animal symbologies. Photographers Tiziano Rossano Mainieri, José Luis Moreno Gámez, and Sigitas Baltramaitis immortalize sandy dunes, algae sinuously moving carried by the current, and clouds playing hide and seek with the sun. In some way, it seems like they speak through their forms, and then the rock becomes a symbol of an apparently calm state, whereas the water communicates loneliness and void. Of a more difficult comprehension, with respect to the theme, are the paintings of Valentinaki and Alce. The color is the main character here but is always relinked to the natural element. In White sand, for instance, white is a metaphor for the sea, a constant in the artist’s memories. He chooses, indeed, to insert oysters in the canvas to further manifest the emotive meaning of those works. Finally, Yolande harris explores the submarine world lived by different water species living between Antarctica and the North-East Pacific. Photographies open to a new understanding, and through the camera lens, our perception melts with the animal one, turning upside down natural physiologic human assumptions.
The collection I chose to propose found its roots in the symbolist poetics and, in particular, in the concept according to whom those who have a strong sensitivity can feel and recognize the profound connection concealed behind the veil of reality. Charles Baudelaire, in the sonnet “Correspondances,” in his collection of poems Les Fleurs du mal, reveals the vision he has about the world and how every single object that materially surrounds the man can refer to something else. Something unreal, metaphysical, mystic. Nature is a temple, a dense forest of symbols revealing themselves to the view through smells, colors, and sounds. The selection presents a series of artworks linked together by a single key to interpretation: the capacity of artists of donating a personal view about nature through the represented images, making themselves mediums able to read and make accessible the irrationality and the unknown of those allegories. If, on a side, Ivana Adaime Makac’s sculptures or Thomas Berra’s and Adelisa Selimbašić’s canvas show the connection tight between man and the natural element, Xelah’s mirrors link themselves to the more mysterious, ritual, and spiritual side of Mother Nature. Greta Pllana, winner of the painting section of Combat Prize in 2016, Anna Marzuttini, and Pierpaolo Miccolis offer enigmatic and wild stories, rich in animal symbologies. Photographers Tiziano Rossano Mainieri, José Luis Moreno Gámez, and Sigitas Baltramaitis immortalize sandy dunes, algae sinuously moving carried by the current, and clouds playing hide and seek with the sun. In some way, it seems like they speak through their forms, and then the rock becomes a symbol of an apparently calm state, whereas the water communicates loneliness and void. Of a more difficult comprehension, with respect to the theme, are the paintings of Valentinaki and Alce. The color is the main character here but is always relinked to the natural element. In White sand, for instance, white is a metaphor for the sea, a constant in the artist’s memories. He chooses, indeed, to insert oysters in the canvas to further manifest the emotive meaning of those works. Finally, Yolande harris explores the submarine world lived by different water species living between Antarctica and the North-East Pacific. Photographies open to a new understanding, and through the camera lens, our perception melts with the animal one, turning upside down natural physiologic human assumptions.
The collection’s works
