RISCATTO SCULPTURE

DESCRIPTION:
RISCATTO SCULPTURE
Mixed Technique
Dimension 1m, 2012

RISCATTO
"A god inspired me to build my palace at the bottom of a large sailing ...But what I ourdissais a round sunshine, my fingers undid the lamp relit" (The Odyssey, Book XIX)

In the work of Tiziana Abretti, the myth seems to preside over the creation. It is to Athens and the Greek tragedy that turned in the first place, the Italian artist series with Oedipus Rex in 2008.

With Riscatto, begun in 2012, is a new dimension to the work. Penelope contemporary Tiziana Abretti done and undone his work more or destroyed and repaired his compositions. The title of the series "Riscatto" issue or redemption in French, sounds like a second chance left to the object it produces.

First in the form of a project fragments of paper-patched then a series of volumes-, Riscatto is made from wrapping paper, non-noble material in reference to the Arte Povera, as erodes the artist with oil paint and sandpaper. Paper, riddled with holes and torn in places, then "repaired", modeled as empty carcasses and simply hung on the wall. In a double and contradictory posture, the artist then accelerates thwarts the natural action of time, healing the wounds inflicted on the matter soon became skin.

Like a surgeon, operates and repairs Tiziana Abretti this skin with meticulous stitches. To the most threadbare, new materials are grafted, old fabrics, organza or gauze. Material par excellence-female common in tailoring - gauze, used for compresses and bandages, also refers to the medical world.

For this job, the Italian artist seeks less to celebrate fashion as traditional female activity that develop the most delicate care, tailored to each scar. Influenced by the writings of the German philosopher Edith Stein and the concept of empathy as "the act of seizing what the other is going through," Tiziana Abretti experiences and exceeds this sentiment: Riscatto is evil and its remedy .

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

In the tradition of healers or shamans artists like Joseph Beuys, the act of creation becomes a therapeutic act. The remains and "treated", wall hung, embody new body and the possibility for the Italian artist to forge a link with the novel world.
Céline Dumas, historian and art critic