In progress of Marillina Fortuna

marillina fortuna (5)My first encounter with sea rejects can only be described as a pure and childish love at first sight: I collected pieces of junk along the beach drawn to their material, colour and texture,
just to, later pack them up in bags and fishing nets and abandon them in a crowded store-room.

It wasn’t until later, as I rediscovered them, perhaps as a result of a singular find, they told me how to explore the sea, the way I do today, with all its force and landscape, as a place filled with passion and marvel for the inanimate brought back to shore.

Today I collect junk as soon as I get a chance, producing with my eyes before even putting my hands on them. The lightness of love at first sight gave way to an avid desire and the simple enjoyment of doing something: just like the most marvellous love affair in which this book and this exhibition, together, found true love.
I started reproducing single, ironic, sea animals recognized for its shape, character, similarity and called by its true name.

They became JUNK FISH, stories closely linked to the sea, two-dimensional paintings of a greater dimension with wood (pieces of boats, broken planks) as the true protagonist. With the figurative approach, which, through the image, translates a desire to give back a piece of life, ideally to the sea, of what man steals every day, connected with the desire to give vigour, strength, movement to the figure, adding more formal elements to the scene and an often more articulate story, presented in the image as well as in the chosen title.

JUNK FLOWERS begins with my passion for the colours and infinite variety of shades and tones found on those fragments of plastic. At first my approach was purely decorative gave way to a more intimate study and a desire to go beyond “still-life”, in favour of a vital movement in my work as a whole.

JUNK BODIES is a rather new passion with lots yet to be discovered, simplified by its more complete nature in volume. The work which constructing and assembling sculptures brings fascinates me: technically more complex, mainly because the components (the collected junk) are used exactly the way they’re found.

The choice of not removing nor adding anything to what I find, is a result of a spontaneous restriction supported by the simple fact that the pieces I collect attract me for what they are.
A consumed lid, a piece of wood sculptured by the sea, a twisted hair comb, I observe them for their simple nature as well as a fundamental part of something else; an eye or a flower (a look),
a jaw (a force), a tail (a movement).
Another belief which limits my search is my respect for these fragments of material and their mysterious yet humiliating condition which the sea regenerates and, if you ask me, purifies. A compensation, an emancipation, a liberation: a truly satisfying reward to me and they who share this feelings with me for the things of the world.

Marillina Fortuna

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