( 2019 )
L’amour est mystique, l’amour est charnel
Travail à quatre mains avec Welle Frangette
Forets sous verre
( 2018 )
( 2018 )
Oyster ( dreaming )
( Noir )
Dietro di me il mare
( ciò che è vicino è lontano )
Seminaria Sogninterra, festival di arte ambientale
Una natura intoccabile ed in continua evoluzione. protetta in uno scrigno per essere osservata nella sua mutevolezza.
La si può scrutare da più lati, tuffandosi nei riflessi dello specchio che la racchiude.
Raccolta nello stesso luogo in cui è stata rinchiusa, questa natura acquisisce nuova dignità e nuova forza, assume un aspetto sacrale, mentre la teca crea una distanza tra la natura e lo spettatore, come quella che Maranola ha col mare, dentro il cui sguardo si perde in un gioco di riflessi.
Da un lato quel mare, così lontano ma così vicino al paese, dall’altro sospesa c’è la natura, parte dei marciapiedi e dello spazio urbano.
Rinchiusa nella sua teca, la natura continuerà a vivere e trasformarsi e dopo il Festival di Seminaria, l’opera sarà donata a Maranola e dedicata alla storia di un borgo che si specchia nel mare, ma che il mare lo può solo sfiorare.
( Ordine )
MuGa Multimedia Gallery, Roma
a cura di Donato Di Pelino
Donato Di Pelino
Martina Angius, a young artist from Sardinia, is holding her first personal exhibition in Rome, where she now resides, at the MuGa gallery in Via Giulia. Her instruction stems from a non-academic background, having learned the technique of working Tiffany glass by observing master craftsmen in their shops. She began making jewelry using Lamerti as her pseudonym: tiny treasure chests containing leaves, seeds, insects or even seashells that were hidden in parks or along streets of the urban jungle. As time goes by, her work grows in size. In this exhibit glass display cases of different sizes contain natural elements that are the subjects of her “findings”. Martina has always felt the need to organize the things she finds maintaining a certain order: natural elements are classified using a non-scientific method based on an emotional impulse. She runs into what Gilles Clément has defined “third landscape”, places in the city where Nature has reclaimed its stolen habitat: abandoned areas. When she sees something that attracts her, she gathers it in order to give it a new “use” or meaning and adds it to her “order”. Wild daisies (arthemis) together with their parasites are bunched in a large glass display hanging from the gallery ceiling in a sturdy geometrical container which encloses the purity of their petals and the probability of love. Putting things in order means underlining sizes, the scraps among things, their complexity. This is the procedure of both botanists and modern thought in isolating the object and trying to understand how it works: Martina’s sculptures remind us of fruits found in Baroque scenes of still life paintings. Even when these are placed on a silver tray in a dark room, all else is erased: the human figure, the surroundings, the ties between objects painted by Renaissance painters. Martina Angius’ display cases protect roses, hibiscus and moss as well as leaves of a ficus tree, arranged like saints of sacred icons, beneath a halo of branches. In these works, time goes on: the plants aren’t saved from deterioration and the glass cases seem to be trying to fix a memory, a sign that’s been left. The systematic way the artist has imposed her work and her need for order allows her to find a new code. After all, Nature is explainable in its performance and mysterious in its motivations. The habit of putting things in order fools us into thinking we can understand people, things, concepts and control an elaborate existence. Another display case, in the shape of an obelisk, holds a small oak branch covered by moss as though it were an idol, a semblance of our doubts. The spectator can observe its secluded beauty and imagine all the secrets it bears. Then come the works on paper, herbariums and plant arrangements which bring your attention to shapes, colors and new significance.
Martina Angius plays with lightness and makes us believe that Art, in all its forms, is such when it behaves like Nature: always capable of obtaining equilibrium, the correct weight.
tr. Jo Manzella
WOOD ( SELVA )
festival delle arti indipendenti
ex SNIA Viscose, Roma
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