PRESS
Edith Dzieduszycka, French by birth, lives in Italy for many years, since 1979 is in Rome where he is active in the field of art and poetry, with numerous solo and group exhibitions in Italy and abroad, and various publications. The retrospective
Roman houses thirty fotocollages on tablets of vertical format, performed by the author in recent years. They are part of an extensive collection once a speculative pursuit of detail, the representation of trivial matters, neglected, worn for extract the hidden soul, beauty, discreet and humble.
www.edithdz.com
www.elisirart.blogspot.com
FRAGMENT
fotocollages EDITH DZIEDUSZYCKA
Gallery of Reliefs. Via the first princess. Rome
13 to 24 October 2010 Wednesday, October 13
vernissage, 18.30
From the catalog: "... The attention to detail photographed as enlargement of the overall vision, and one dear to the Dutch school the "Pencil of Nature" by Talbot, is only the first step of the investigation. In the work presented here the materials that give structure to the apparent reality, paper plastic fabric metal wood, gather as objet trouvé a collection of memory, geometry secret expand beyond the visible. The photograph becomes a collage. The photograph of the collage becomes not apparent. Therefore, not imitation of nature, but lacerating redialing a secret order. The de-composition of matter creates abstract images, full of plastic and lighting effects. Suddenly, objects comprehensible to the eye, blatantly trivial, seem to be leaking abstractions themselves. The technique of collage is placed at the beginning of the twentieth century as an instrument of a revolution, Cubism and Dadaism in particular used it to raise awareness of fragmentation. Edith now includes material that chaos is a force of nature, but that man can yet unfinished process such information creatively. If the world is fragmented, we have to draw on to understand what it takes to give a livable form, and this form is an interpretation of reality, ever invented, is so chaotic that the materiality, exacerbated in detail, comes together in a whirlwind of harmony. The attention to the composition of mass and color is masterful, witnessed a successful revival. The static field is driven by a gust of memory, the corrugated metal sheets and a burst of intense light on the card generate life. But the atmosphere is dense and concentrated. Labile tongues of fire become tangible matter. Appearances storms take shape, solidify in una dimensione assoluta del pieno. (…) Non c'è alcuna concessione al caso in questa ricomposizione del mondo. E' uno scavare nei valori formali e cromatici dell'immagine per ri-creare un universo autoriale di concreta astrazione. Dal caos del quotidiano, giungiamo con la manipolazione dell'apparente tangibile ad aleborare un'alchimia di Verità: l'entropia della materia lacerata è rinascita nel mondo nell'astrazione.” e.g. /maggio 2010
Edith Dzieduszycka, French by birth, lives in Italy for many years, since 1979 is in Rome where he is active in the field of art and poetry, with numerous solo and group exhibitions in Italy and abroad, and various publications. The retrospective
Roman houses thirty fotocollages on tablets of vertical format, performed by the author in recent years. They are part of an extensive collection once a speculative pursuit of detail, the representation of trivial matters, neglected, worn for extract the hidden soul, beauty, discreet and humble.
www.edithdz.com
www.elisirart.blogspot.com
FRAGMENT
fotocollages EDITH DZIEDUSZYCKA
Gallery of Reliefs. Via the first princess. Rome
13 to 24 October 2010 Wednesday, October 13
vernissage, 18.30
From the catalog: "... The attention to detail photographed as enlargement of the overall vision, and one dear to the Dutch school the "Pencil of Nature" by Talbot, is only the first step of the investigation. In the work presented here the materials that give structure to the apparent reality, paper plastic fabric metal wood, gather as objet trouvé a collection of memory, geometry secret expand beyond the visible. The photograph becomes a collage. The photograph of the collage becomes not apparent. Therefore, not imitation of nature, but lacerating redialing a secret order. The de-composition of matter creates abstract images, full of plastic and lighting effects. Suddenly, objects comprehensible to the eye, blatantly trivial, seem to be leaking abstractions themselves. The technique of collage is placed at the beginning of the twentieth century as an instrument of a revolution, Cubism and Dadaism in particular used it to raise awareness of fragmentation. Edith now includes material that chaos is a force of nature, but that man can yet unfinished process such information creatively. If the world is fragmented, we have to draw on to understand what it takes to give a livable form, and this form is an interpretation of reality, ever invented, is so chaotic that the materiality, exacerbated in detail, comes together in a whirlwind of harmony. The attention to the composition of mass and color is masterful, witnessed a successful revival. The static field is driven by a gust of memory, the corrugated metal sheets and a burst of intense light on the card generate life. But the atmosphere is dense and concentrated. Labile tongues of fire become tangible matter. Appearances storms take shape, solidify in una dimensione assoluta del pieno. (…) Non c'è alcuna concessione al caso in questa ricomposizione del mondo. E' uno scavare nei valori formali e cromatici dell'immagine per ri-creare un universo autoriale di concreta astrazione. Dal caos del quotidiano, giungiamo con la manipolazione dell'apparente tangibile ad aleborare un'alchimia di Verità: l'entropia della materia lacerata è rinascita nel mondo nell'astrazione.” e.g. /maggio 2010
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