Rosella fida
Artist Statement
Autodidact in my art, I work essentially with organic materials, clay, wood and trying to translate in a more instinctive way, emotions into my work. Looking through the line, the form, finding the essential, the state of non-shape : this idea carries my exploration in art.
Although I feel deeply connected to all of these material clay, at its unfired stage, is the one I prefer to translate strength and fragility. My art relies on the reaction of clay: volumes, fissures and tearing due to the pressure of my fingers and the weight of the material. The piece’s memory appears printed on the surface, as a reminder of the pre-existing life of the material.
Through my performance work, I am in search of a connection between the material I work with (clay), and the exterior, the neighborhood, its inhabitants and its memory. For a few weeks I build in front of the viewers sculptures and leave them as remains of what happened. As I fight with the drying of the clay in order to accomplish the building part, their deconstruction has already begun: their shape and surface follow a progressive breakdown due to weather changes and the viewers’ reactions.
The end of the performance is the disappearance of the sculptures. What is left to the viewer is a memory.
Autodidact in my art, I work essentially with organic materials, clay, wood and trying to translate in a more instinctive way, emotions into my work. Looking through the line, the form, finding the essential, the state of non-shape : this idea carries my exploration in art.
Although I feel deeply connected to all of these material clay, at its unfired stage, is the one I prefer to translate strength and fragility. My art relies on the reaction of clay: volumes, fissures and tearing due to the pressure of my fingers and the weight of the material. The piece’s memory appears printed on the surface, as a reminder of the pre-existing life of the material.
Through my performance work, I am in search of a connection between the material I work with (clay), and the exterior, the neighborhood, its inhabitants and its memory. For a few weeks I build in front of the viewers sculptures and leave them as remains of what happened. As I fight with the drying of the clay in order to accomplish the building part, their deconstruction has already begun: their shape and surface follow a progressive breakdown due to weather changes and the viewers’ reactions.
The end of the performance is the disappearance of the sculptures. What is left to the viewer is a memory.