...The engraving (the rhapsodic sign excavated on
roughen surfaces of baked clay panels and
pictures or in shorthand drawed with the point of
a pencil in the distempers on paper) changes into
clue of possible flights beyond, the stiff tracks
left by the marks of bodies ruinously fallen like
Icarus, while the nervous construction of
exasperated diagonals quickens the dynamism of the
multifarious perspective points of flight.
The equilibrium between quiet and movement,
attraction and repulsion is always precarious and
unstable in these works characterized by excited
space openings, where the unexpected flash of a
blood-red or the sudden sight of a snow-white
inserted on shaded tones by the iridescent
reflexes, opens and tears, shifts and unhinges the
strict apparent order fixed death.
The same astral fixity of the very polished
sculptures in washed out red baked clay - whose
plastic essence echoes, visually stylized,
zoomorphic simulacra - is questioned by Petrified
Flights "branded", you can say, in the upper and
lower side of revitalized stelae: now it's a
centuplicated flight across of the work to
approach the obliterated horizons.
(Antonio Gasbarrini)
For two thousand years there has been a range of
possible images of the "Tower of Babele": it was,
perhaps, a Ziggurat of a "stupa"; or perhaps it
even took the form of a municipal bell-tower. In
the Bible we read "And they said one to another,
Go to, let us make brick, and burn them throughly.
And they had brick for stone, and slime had they for
morter. And they said, Go to, let us build us a
city and a tower, whose top may reach unto
heaven".
Massimina Pesce has chosen the iconography of
Brueghel, with its circular ascension along the
large stairway to the apex of the Tower. When we
view the installation the dominant impression is
that verticality of the Tower, which takes the
attention away from the detail of the ceramic:
this seems to signify the victory of inequivocable
image beyond the diaspora of tongues and writings
engraved on small brick panels. This signal of
victory is to be understood not only as a
celebrative feature amongst the cultural symbols
of man, but as the ancestral repetition of a stage
of evolution that is inscribed in our genetic
structure: the assumption, that is, of the erect
position as the definition of the first visual
horizon.
(Luigi Paolo Finizio)
Recent Exhibitions
Art Gallery
Address
Massimina Pesce
Via S.Maria a Colle
67019 - Collettara - Scoppito (AQ) - Italy
tel. ++39-0862-717822
