Francesca Cataldi: I Work
The exhibition presents 40 two-dimensional and three-dimensional works in cement, tar, resin, cellulose and glass.
Starting from La rete, a work dating back to 1971 in which Cataldi began to explore the possibility of leaving the canvas behind and applying an iron mesh to it, the exhibit follows the artist鈥檚 journey in making art with a variety of materials that she would find in her environment and would eventually attract her attention. Since the beginning of her artistic journey Cataldi has proceeded in cycles, has dedicated herself to different materials, studied their characteristics, appropriated them, combined them and subsequently transformed them.
As she puts it: 鈥淚t鈥檚 the materials that look for me, not me looking for the materials. They come to me and spark the idea."
In her works, the conceptual drive is closely connected with the gestural one, in the same way that research and experimentation are in dialogue with juxtaposition and narration. This happens as a response to an inner justice that the artist welcomes and fulfills: she creates works whose stories require years of research and experimentation in order to be told, as in the case of her artist鈥檚 books and large wall panels.
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The exhibition presents 40 two-dimensional and three-dimensional works in cement, tar, resin, cellulose and glass.
Starting from La rete, a work dating back to 1971 in which Cataldi began to explore the possibility of leaving the canvas behind and applying an iron mesh to it, the exhibit follows the artist鈥檚 journey in making art with a variety of materials that she would find in her environment and would eventually attract her attention. Since the beginning of her artistic journey Cataldi has proceeded in cycles, has dedicated herself to different materials, studied their characteristics, appropriated them, combined them and subsequently transformed them.
As she puts it: 鈥淚t鈥檚 the materials that look for me, not me looking for the materials. They come to me and spark the idea."
In her works, the conceptual drive is closely connected with the gestural one, in the same way that research and experimentation are in dialogue with juxtaposition and narration. This happens as a response to an inner justice that the artist welcomes and fulfills: she creates works whose stories require years of research and experimentation in order to be told, as in the case of her artist鈥檚 books and large wall panels.
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