Artist: Milena Rossignoli
Exhibition title: Limiti Di Curvatura
Curated by: Eleonora Aloise, Carlo Maria Lolli Ghetti
Venue: White Noise Gallery, Rome, Italy
Date: March 23 – May 25, 2019
Photography: all images copyright and courtesy of the artist and White Noise Gallery, Rome
The limit of curvature is the instant prior to the breakage; pure tension suspended between maximum potential and immediate tear, both physical and emotional.
The creative process of Milena Rossignoli heavily relies on intuition, as an act of resistance to the logical filters generated by knowledge.
An investigation on the contraction and expansion of physical space in relation to light, vacuum and her own presence in the setting.
After building a relationship with the place, Milena tears away traces of it from the floor, walls or windows giving life to geometrically instable canvases showing the imprinted pattern of the architectural surface.
Each cast is a concrete layer of skin, like a fragment of land containing the entire DNA of the organism.
A fingerprint database of anonymous rooms, two-dimensional plans which can be broken down and re assembled in an unconscious attempt to rebuild a primordial nest.
The artistic language of Milena focuses on height, suspension and incompleteness as symbols of a conceptual circumference that can never be closed.
So the form precedes everything and becomes the experience, a catalogue of identity variations in which the result is never the same when changing the arrangement of factors.
Not only canvas and concrete but translucent papers, wood and building materials are pushed to their bending and torsional limits using steam, time, wear and gravity. Free from their original function, they become the basis of a compositional language with no rules. Talking to the viewer, here and now, they change significance and significant according to external conditions.
A linguistic paradox caused by the will to establish an intimate and nonverbal connection between the physical container and the human content.
Fabric and material are like universal modules, heavy as habits, fragile and diaphanous, that turn into sculptures or curtains in an extreme, architectonic deconstructivism; unable, by choice, to reach its final shape.
An aesthetic synthesis pushed to an archaic symbolism in which instinct and subconscious are the unit of measurement for space.
In the show Limiti di curvatura the three rooms of the gallery will create an upward path, in resistance to the atmosphere. In the first one a pale curve will change the architecture playing with the light. In the second, big canvases – which used to be floors – will raise arching their frames in opposition to gravity. Just to arrive to Resistenza I: a structure inspired by Edo-period kites, considered the sacred link between the Earth and the Cosmos.
In the Japanese culture the form itself of the Tako is a concept and the hand of man drives it through the wind, the only force able to overcome all the other elements. In this construction, the aesthetic value of the imperceptible rope that links its two ends is perhaps the highest synthesis of Milena Rossignoli’s research.
Her artworks are transitory places in balance between lightness and tension in which the acceptance of incompleteness is the real evolutionary force.
