curated by Elena Forin
10 April – 12 May 2017
Opening: Saturday 8 April from 3 p.m. to 8.30 p.m.
After the show by Graziano Folata, the Galleria Massimodeluca is continuing its series of exhibitions with another solo show devoted to the multifaceted art of Giusy Pirrotta (Reggio Calabria 1982): Seamlessness, curated by Elena Forin (from 10 April to 12 May 2017, opening on Saturday 8 April from 3 p.m. to 8.30 p.m.).
In this case too, the collaboration between the artist and the gallery has lasted many years, and the idea of the show - the second after Tanto tempo fa, quando la Terra era piatta (2014), together with Elisa Strinna – started from the wish to share the extraordinary development of this artist who recently, during her PhD course at the University for the Creative Arts in Farnham (UK), broadened her area of research with studies of moving image, space, and the universe of experience sparked off by works that develop over time.
For this show, which had an important precedent in the recent exhibition Between the Glimpse and the Gaze (James Hockey Gallery, UCA, Farnham), Giusy Pirrotta has expressly devised for the gallery rooms a project based on the close relationship between the works, and on the assumption that the public will be totally absorbed into the space.
The curator, Elena Forin, has said that “At the heart of the exhibition layout is the desire to unite very different and at times contradictory aspects of contemporary production; this is achieved by flanking elements linked to the world of design, cinema, video art, architecture, decoration, and visual inquiry, in order to create either homogenous spaces or ones fragmented by the powerful diversity of the context evoked by each of the works.”
In fact, the artist proposes interventions that transform the gallery rooms through the design of a ‘new visual, spatial, and architectural epidermis’ obtained by arranging patterns that are repeated on wallpaper and fabrics, in this way contributing to the creation of a form of continuity in which the vision of details is lost. These images, all botanically-derived, are born from the manipulation of analogue photos that were then scanned: the final effect, also as a result of their relationship to the other works, is the creation of a total environment in which the usual categories of perception are mixed up, and in which the difference between the figure and the background is annulled. Everything is part of a potentially infinite visual continuum where the images are regenerated and developed in an organic manner from one work to another, in an interaction between languages, finishing, spaces, supports, and the visual materials.
What is particularly interesting in this view of things is that some of the elements created and installed in the space have been developed as stage sets or small curtains for groups of ceramic objects that emanate coloured light: the public can shift the scenery to create new effects, stage various scenarios, generate further superimpositions of images, and establish new boundaries between stability and movement.
And it is from this interaction – one that is not only suggested but experienced concretely – that there is developed the sense of Seamlessness: the idea of continuity and repetition that Giusy Pirrotta articulates through design, cinema, light, decoration, and objects in order to go beyond the limits of any kind of static perception and to experiment with the majestic monumentality of images conceived to develop through time and space, without limits and without boundaries.