Feminine and Art. The search for form and the self, sculpture and artificial intelligence. Combining the real and the virtual, aesthetics and interiority is the work of sculptor Roberta Morzetti, on display at Basile Contemporary in Rome from Thursday 13 June. A solo show by the artist entitled “6_24”, with the number six indicating the deepest being, to be found within us and with which to connect. A journey that aims to make the viewer reflect on the modern superposition of the virtual on the real. Curated by Marco Giammetta with Rosa Basile and enriched by a historical critical text by Silvano Manganaro, the exhibition will remain open to the public until 13 July 2024.
“Roberta Morzetti is one of the very few Italian women sculptors completely dedicated to a complex and physically deteriorating job, which she uses as a tool for expressing contemporaneity and emancipation. Ours was a meeting between women, and among women we reflected on the relationship between being and appearing, between saying and doing, between external and internal beauty, sharing a unitary vision on the sense of self”, said Basile.
Inside the Roman gallery, 15 sculptural works will be exhibited which bring to mind human forms, symbols and images, which represent a metaphorical bridge between the deepest experienced self and the evocative force of a beauty that does not aim to pleasebut to stimulate reflections and suggestions, amplified by constant mythological references.
Morzetti investigates on the experience of human beings, giving life to an exhibition that presents itself as a true journey of awareness to discover one’s own inner beauty. The profound relationship with the interiority that pushes the artist to delve into his own soul hides an important message against superficiality and the obsessive search for external perfection, which fuel vanity and the hunger for consensus, obstacles to true freedom. Morzetti’s main aim is to lead the observer – with innocent sincerity – to “see”, without filters, the signs caused by life experiences and reflect on the therapeutic value that pain can generate, if experienced as an opportunity and not as a defeat.
The artist’s work that emerges in “6_24” is based on a continuous comparison between different semantic languages, that of the self and that of communication which, without ever overlapping, find the way to connect and tell a story. From the sculptures on display emerge the artist’s compositional skills, as well as the obsessive ability to model the materialthe meticulousness of details and the use of organic elements, details that generate in the works a harmony between the style they express and the cultural and moral heritage from which they come to life, coming from the sculptural tradition of the territory in which he lives and works. ‘artist.
The use of the flame deforms, distorts, shapes the works, leaving space for that “inside” that transfigures the image and reveals ribs, connections that intertwine, altering the neutrality of the white color, favored by the sculptor. For Morzetti, color is not simply a physical manifestation of the light that the observer passively perceives from the outside, but is also and above all an elaboration of the eye and therefore of the human mind. A Goethean vision that leads Morzetti to choose white, as the color of life and rebirth for Western culture, but also the color of death for oriental culture. A color which in itself contains all colors and which, thanks to its neutrality, strongly highlights the relationship between light and dark, between light and shadow, a characteristic of the sculptural art of the Baroque period.
“In Roberta Morzetti’s work, the material is consciously made the object of an alteration and, we could say, a downgrading. No longer the noble and precious element of traditional sculpture, but something linked to contemporaneity which, however, undergoes a metamorphosis, a mutation: the mutation of matter which becomes a mutation of the body. Just like Icarus who, attempting to rise above all others to reach the sun, loosens his wings and falls disastrously to the ground, giving life to his “masterpiece” at the same time ( that is, becoming a metaphor for every push upwards, of every desire to rise beyond one’s condition), so Morzetti’s matter and bodies, in their disintegration, aim at the same dramatic tension” concluded Manganaro.