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| Name |
Introduction |
| Pietro Elia Maddalena |
Artistically formed in England, he expresses his creativity through ceramics and porcelain, using his skills in the application of the Japanese Raku technique. The shapes he creates are extremely elegant and “light”, perfect in their lines and precious in their lacquer colors. In his works, curved lines are dominant, dividing the space in many concentric caps, and the color look as if trapped in a timeless dream.
Bona Baraldi
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| Roberto Ceccherini |
In the pieces formed by the hands of this artist one observes such a respect for the material that it seems as if they have taken shape by themselves. The slabs on whose surfaces the earth coagulates or trickles in a wave like pattern to reveal colours of natural geological stratifications are one example. Even when the artist's intervention is indisputable even to the eye of the most inexpert observer, where figures are the protagonists, it is just as if he brushed the supporting slab with slender spare movements in passing, leaving no trace behind.
It is not a case of minimalism but rather, I would say a studied approach to the technique subjected to the poetics of the artist.
Bona Baraldi.
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| CIRO Roberto Cipollone |
THE ART OF CIRO
Ciro’s art is an innocent one. It correspond a daly reality that is both poetic yet astonishing. It deal whit an articulation of idea that express sensitive states of creativity through different combination of wooden fragments: humble yet essential elements, delicately colored by time, naturally or through participating intervention provoked by functional need. Perspective structures from the optical effect of interlaced fiber torsion, of houses, castles, landcapes,animals, various objects; everything flowing from perceptive stimuli averse to rhetoric, that favors its own unique communication according to a language whit precious and edifying taste. Works without lateral perimeters, picture frames without paint, forms antiforms whose meanings allude to the searched beauty, to the contemplation of the objet rather than the recovery of itself for its positioning in a new context whit the aim of creating new relations. Ciro, whit an “non-style”, backs out himself of the obligation to narrate something, he does not refer to codified schemes; he operates processes of transformation without representative description, nor the elaboration of an aesthetic learning; he, rather, actualises an invention that transforms, a subjective action of the inventive faculty as an affirmation of a new physiology, like an animation of his those remnants of objects, that attempt to live again by playing a new role, express the highest form of sensibilities that accompany the journey of this author; they are the sign of a “wealth”, challenge and denial of the wordly material good, ethical approach that exalt the sense of life and the events that compose it.
The implicit symbolism in the formulation of manifold experiments – poverty, humilty, space contemplation, life –are the mysterious signs of the fascinating source from which Ciro nourishes his own spirit.
Something the significance of a work of art remains mysteriously imperceptible, it does not reveal the message, but rather the great need of modern man to determine his own level of existence in the incessant existential race, induces him to enyoy and to assimilate this art that, for all its spiritual and temporal contents, is in reality profoundly rooted in history.
Gabriella Bairo Puccinetti
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| Bruno Gambone |
An artist who found in ceramics the perfect mean to express his creativity. In a continuous tension, he deals with the raw material to experiment new approaches, new assemblages, new aesthetic solutions, coming from an impulse deep within. The space is architecturally intense and plays a fundamental role in his works: this space associates the shape of the object and becomes an object itself, bending softly and moving around a profile, or blocking its movement from within and leaving the work as the only protagonist. It is through the skilful management of the space that Bruno Gambone suggests to the viewer the temporal articulations, held up or released, pressed, sped up, slowed down. A harmony of signs with musical rhythms all different and all enthralling and charming.
Bona Baraldi
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| Eduardo Nunez Valbuena |
The Mexican artist, in his various production (paintings, engravings, design), offers us an ancient world, memories full of light, dense with history and culture of a people who knows how to live (and die) with joy.
It is a world of which one can catch a glimpse from any detail, even when the “object” is less recognisable and brings the viewer towards an ideal journey.
Colors are pure, evenly distributed; the references to reality are stylised and vital. Geometries that could be taken from a glass window divide the two-dimensional space with exciting and highly decorative solutions.
Bona Baraldi
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| Sabina Feroci |
SABINA FEROCI
Female-eye view stories narrated through illustrations painted on sucessive boards in a comic-strip style, recounting the little happenings that animate daily life.
She captures a moment, freezing the unconscious action as it happens into an instant of surprise, charged with irony. She demythologises the showing off, the pose by the impossibility of the posture, giving weight to joyfullness, love of life expressed through her characteristic brilliant colours, but also to the anguish of solituded in her less frequent monochromatic boards charged with dramaticness rendered livable through an easy going tone that from irreverent but good natured often veers toward the furious, straying into sarcasm.
Bona Baraldi |
| Antonella Ciapetti |
Her objects -the large plates and the turned vases- trascend their mundane purpose, transformed by their features of colour and form. In her ceramics, fire tranforms the mineral oxides into scintillanting colours -from green to turquoise to bright red- which confer precious glassy reflections on the terracotta, where traces of rapid, skilled marks meld with the surface rendering it alive. |
| Cecco Mariniello |
An artist who found in ceramics the perfect mean to express his creativity. In a continuous tension, he deals with the raw material to experiment new approaches, new assemblages, new aesthetic solutions, coming from an impulse deep within. The space is architecturally intense and plays a fundamental role in his works: this space associates the shape of the object and becomes an object itself, bending softly and moving around a profile, or blocking its movement from within and leaving the work as the only protagonist. It is through the skilful management of the space that Bruno Gambone suggests to the viewer the temporal articulations, held up or released, pressed, sped up, slowed down. A harmony of signs with musical rhythms all different and all enthralling and charming.
Bona Baraldi
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| Massimo Boi |
His ceramics abound with references to the traditions of his homeland both in the use of colour and in the range of symbolism, yet reveal themselves to be extremely original in the invention of shapes and the cobination of colour. The dominant contrast of red and black is often enriched by inlaid over glazes of ultramarine, light ochres, golds, silvers, punzioni a rilievo….shapes and colours intertwine with great creativity whilst remaining faithful to the style, unmistakable in this artist who uses formal technique and traditions to make a base from which to launch new ideas.
Bona Baraldi |
| Paolo Staccioli |
PAOLO STACCIOLI
He started painting from a young age, and first exhibited in 1973. In the late 80's he discovered ceramics, and since then has been continuously fascinated by the innumerable possibilities and experimental variations which ceramic materials offer. Most of his works are made using the technique of "reduction”, a process he discovered thanks to his frequent visits to the workshop of Umberto Santandrea at Faenza, where he had the opportunity to experiment with a number of techniques and materials. Staccioli has held 35 exhibitions so far. The year 1999 was particularly active for him, with several exhibitions in Italy (Mantova, Firenze and Bari) and abroad (Aberystwyth, Wales, and Amsterdam). In April 2000 he holded an exhibition in St. Paul de Vence, in the south of France, and during the same period the Scandicci Council installed one of his biggest sculptures in its main public park |
| Rossana Ciulli |
Painter of juicy impastos, she proposes images of secluded places, crumbling edges of a reality one tends to consider more ample and maybe hostile: the remaining bits of a world which doesn’t offer much to admire, except maybe the nature. But it is thanks to nature that Rossana Ciulli Ciapetti finds the energy for a possible rebirth. Thus, by observing her flowers still lives, we penetrate the intimacy of her soul to come out of them again, regenerated by the poetry of romantic atmospheres: glimpses of light on fallen petals, the vitality of her energetic brush strokes, the tenderness of the more delicate brush strokes which only graze the canvas with a light touch.
Bona Baraldi
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| Enzo Butera |
Butera’s way of handling volume in his constructions reveals a sensitivity to plastic form that is closely linked to his inmost vision, and indeed to the very way he lives his life. His is a tension that delves into irony, tragedy, and the grotesque, into tradition and eros. He organizes human figures, events and passion so as to overwhelm them whit a breadth of human inspiration that is strikingly original, rooted as it is in a word both archaic and highly civilized. In Butera, intimate feeling takes on visual form, exalting in the exploration of the culture of the Australian aborigines as in the rediscovery of raku pottery. Thus, Butera’s chosen materials-bronze, terracotta (both glazed and unglazed) and plaster of paris – become complementary to the panting, and vice-versa, thanks to the play of light on surface also revealed in the traces of his stroke. Thus, the observer is introduced to a poetic statement that is at once harsh and vigorous.
Ugo Barlozzetti
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