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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

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COMUNICATO STAMPA

ANGELO PETRUCCI
“L'intervallo ritrovato”
Galleria RILIEVI. via the first princess.
Rome from September 28 to October 12, 2010


on display in Rome an extract of the last two years of production Angelo Petrucci, author Tuscan academic training, which made a distinctive human intellectual inquiry and the reason of a coherent decades of artistic exploration, but never equal to itself, the ancient language of painting and the universal theme of the body in space, in the vision of a contemporary artist who is not afraid of the history and technique of a doorway.

From the catalog: "... The body?: Life is made of the same material making up the universe. As part of the whole fragment is faceless, nameless, subtracted identity and time that produced it. The body is part of the riddle behind the unsolved mystery of life and that also involves the space that permeates. (...) Res humana and attendance are essential in the author's works, but in this revival of molecules of universality is given nothing to chance: everything, like a puzzle ready to self-resolve, it has a reason to be in that place , of that time suspended. (...) The whole theme of forces is readable by virtue of the delicate balance between visual dimensions, distances, directions, curvatures, volumes. Each element has an appropriate form with respect to each other, thereby providing a final order in which tutte le forze componenti si contengono a vicenda, nessuna di esse può imporre alcun mutamento nell'interrelazione. Il gioco di forze si trova in quiete apparente. Ma il corpo rimane l'elemento propulsivo, vitale, che rompe la permanenza, che è motore di cambiamento; in questo senso, è la chiave di volta di queste composizioni. (…) Il corpo di Petrucci è sintetizzato, generato dall'espressività gestuale ed emozionale di sè stesso. E' tridimensione dipinta, vitale sensualità potenziata dalla memoria, che sublima il reale, lo rende simbolico. Il corpo, dunque, come forma simbolica, richiede una conoscenza che implica volontario avvicinamento, ricerca perseguita, lenta penetrazione: è quella praticata by the author, is repeated at each renewal the viewer. (...) Looking at the entire production of Petrucci, affects the coherence of research, indeed seem to clarify and refine the process over time. Next to a proceeding from simplicity to complexity of the study, there is a progress from confusion to order in the awareness survey. (...) Petrucci's paintings are depictions of puzzles to decipher, evaluate the realization of a vision of the reality, which requires the detail in the context of this metamorphic and we reveal the burning of a contemporary observer who took the unit of entropy of the world and all its inscrutable solution ... "/ g in July 2010

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ELISIRart has

STEFANO IOANNUCCI PHOTOGRAPHER

Gallery Transcriptions. first because of the princess. Rome

13 to 27 September 2010