Burned, nicked, frayed, torn, the material suffered from Tiziana Abretti brutal interventions.

Project Oedipus made the Athens School of Fine Arts in 2008, while a student at the Academy of Fine Arts in Bologna, the series Riscatto 2012, Italian artist declines, with the meticulousness of a surgeon, events of violence in the media.
However, the original scar and inflicted on them in the line-of Alberto Burri, Antoni Tapies or is not an end in itself. Tiziana Abretti marked by the memory of his grandmother, with whom she sewed, comes a second time on the matter.

Oedipus in the series, scarred or burned pages are patiently pieced with a thick red wire. The result is a series of strange characters, writing new palimpsest or a Western myth. Just part of me II (2008), a large gash sewn onto a sheet, appears as the oft-repeated attempt to return to the past, to treat the matter undermined.
Both executioner and healer, Tiziana Abretti splits and heals the wounds of his compositions. Poemi Tessili (Poems textiles) series produced in 2009-2010, from the texts of the Italian poet Alda Merini present themselves in the form of abstract constructions: a superimposing of various materials (linen, cotton, organza, transparent paper) cut appear in some places leave scraps of handwritten text.

Influenced by the work of Louise Bourgeois and Annette Messager, the Italian artist evokes this sense an intrinsically feminine, less to celebrate the know-how, for up to the surface of the material memory of an action.

Riscatto, redemption or issue in French, are volumes of recycled paper, painted and sewn with frayed fabric. Abused for long hours, using sandpaper surfaces reveal multiple tears. Joined together and hung on the wall, like the wall reliefs of Eva Hesse, these arrangements shapeless material referring also mutilated remains of Berlinde Bruyckere conquer a new life.

Carcasses and multicolored anthropomorphic parts involved Riscatto therefore as evidence of a possible cure. If the spectrum of pain haunts undeniably the work of Tiziana Abretti, remission is near. "It dolore è senza domani" (without the pain is next) also says in his poem Alda Merini Ieri ho sofferto dolore it.

As a mausoleum erected atoning for women victims of physical violence, installation Rompi una una donna e costola has not ricrescerano dieci (Casse one side a woman, he will push ten), in reference to Genesis - conducted in 2010 for the Fabbrica art center in Italy, opens the way to ultimate salvation: a bouquet of flowers, the veil of organza floor, symbolizing the fallen wife and testimonies of rape sound like much remedies for the ills suffered by women since the Creation.
Céline Dumas, historian and art critic