Other Stories of Giulia Ceriani

Rombo (2005) coll.priv

Rombo (2005) coll.priv

A language is structured by certain rules, made up to keep a certain consistency and structure in the same way that there is a way to construct an argument, only by appearance disordered and improvised, assembling single units beyond every hierarchic principle. Without rules and respect, in order to attain a joint harmony with a result far greater than the hidden struggle of getting there. Thus, in Marillina Fortuna’s compositions, strongly influenced by the structure of bricolage- characterized by this second way of depictingthese objects which are left to our disposal by chance, as a result of

thoughtlessness or necessity, in other words, out of our control, then collected, not for a logic reason but one listening to an emotion, hard to distinguish, following a chromatic sensitivity which comes across these accidental shapes, with an ability to tame them with the power of her personal baggage. Because this is a project in which the main focus lies in the composition; in the force of its reasoning and its ability to tell a story, in its interest to respect the memory of a past etched in the texture of each and one of those fragments found and collected along the sea-shore, like echoes of the past, worn and consumed by earlier lives and once again made available to a new and undiscovered context; the interest of individualizing invisible ties, those hidden strings holding the assemblages together, matching and overlapping; the light consciousness that chooses the accents as well as the design and, in the end, to rewrite a new and more complex project.
So very little, in what we see in all those gathered pieces of junk, has something to do with “rubbish”. On the contrary: what has been demonstrated in this works of art is an ability which goes beyond the limits of a single unit, which gives back life to a lost object, intentional or not: the suggestion of montage is balancing on a fine line between the oppositions abstract and figurative , between continuation and discontinuation, without a real solution of a logical connection unlike the simple pleasure of a gradual movement. Choosing not to recycle, but, worse, to continue wasting in, as if it wasn’t bad enough, even larger quantities, removing those rejects, for the most part still functional, from the dump, in other words, their destiny. Betrayal doesn’t exist in the typical form of writing about bricolage.
There’s, on the contrary, a modest wish to give back existence to objects, fragments, stumps of stories- temporarily hosted be the sea, carrying traces of the universal variety of culture presented in its numerous places of origin: a lid, a piece of rope, a metal wedge. Each and one of them referring to a real initial purpose which at the same time gives evidence of their loss of meaning, of time gone by, lost somewhere along the line of its original purpose and its, by now, twisted route, unconscious and distracted, brought to salty waters and sculptured once again. And all together, in its new syntax which, ironically, gives back a natural form (flowers, fish, bodies), with material only seemingly motionless, to become part of a, once again, peaceful figurative speech.

Giulia Ceriani

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