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My photography and the sculpture by Roberta Morzetti
Roberta's sculpture lets herself explore and I love to explore the details of things, the matter of which things are done. I often let myself be hypnotized by the shapes and colors that many materials assume when they degrade, because degrading reveals a structure. Framing scrap, cracks, and tears I discover shapes with a sense, proportions, abstract depths, or evocative to the limit of the figurative. I learned to compose my macro photos from the informal artists, from the Great abstractism, from modern and contemporary architecture. So far we are talking about discoveries made by encountering inanimate objects, dead or degraded to authentic monnezza, in which the formal values that I try to exalt are non-intentional, because no person has researched and put in place before I came to seek The framing.
The adventure of the Ro-Ma project, on Roberta's works, is a new discovery. It was a matter of scouring with my macro lens the material of which his works are made, studying on their substance, in short, conducting a true molecular investigation of his art. In doing this work on four of his compositions I realized how Roberta's artistic journey evolved. We recognize the making, the accumulation of materials, shaping, burning, melting and painting. Mine was a journey into changing inner landscapes, terrible or enchanting as the moods that guide Roberta in her expressive research. So I discovered that even in detail, even losing the overall vision for a moment, we can recognize the path of this research. From the anxieties of C5-C7 to the awakening of confetti, then to Bebébangbang (exhibited at the Maam of Rome). To come to R-existence, then to Bona-Dea, in the park of Amatrice. The intimate and close observation makes us very close to the interiority of Roberta, her struggles, her victories.