“The Valley of Frupper, the empiricist rabbit”
The art project “The Valley of Frupper, the empiricist rabbit” proposes from the aesthetic and pictorial scope, about the non-conventional realities (not ordinary reality) versus the mechanical and automatic idea of consensual reality structure (ordinary reality). It refers to places that oscillate between the physical and the metaphysical, between what happens outside and what happens inside regardless of whether what actually happens occurs in one or the other; what is important is found in the imaginary that is constructed in the interstice between the two. The rabbit, metaphor of the humans as guinea pigs, accepts its rabbit condition and prepares itself for a delirious sensory journey. Release the reins of what is established and suffer the vertigo of the vacuum when it is suspended as clouds (zero gravity). And it is precisely in the clouds where he projects his fantasies. He knows that being in the clouds is the game and that is where he plays and establishes the rules (there are no rules).
The valley are states of mind and the rabbit jumps happy through its slopes.
This project consists of several paintings in acrylic and mixed techniques in different dimensions that tell the story of Frupper, an empiricist rabbit. These paintings are displayed on the room’s walls and all over the place distributed in a specific order but in a heterogeneous way. The versatility of the pieces allows the space to be widely available. The proposal aims to communicate to viewers an idea about the different possibilities of realities from the perspective of a pictorial language context and how we use painting as a medium to conceive stories. Even how the imaginary world of art language and painting language are part of those possible realities. The importance of this project is based on a meditation about painting using the same painting as a medium. Talk about painting with paint to claim the importance of a traditional technique as a graphic document, as a narrative medium and as a generator of thought today, how its implementation in artistic languages is still feasible today. Another idea is to propose different interpretations of the whole project that stimulate viewers fantasies according to Frupper’s story and beyond.
Since the very beginning I’ve been interested especially in painting and drawing language, but in a very open and experimental way that leads me into different points of view about doing drawing and painting, trying new results from the different process and mixing several materials. Beginning with an academical training and after studying the masters of classical art all along art history until contemporary art, proposing questions about painting and drawing in the present. Since a few years I have been trying to get out from some topical issues about style and ways to perceive arts and artists, in that way in I did a mixed work in my project Frupper’s Valley, where I mixed styles, materials and dimensions. Al my work is based in searching, trying, mixing, materials that connect with interests, curiosities in arts and in life.
Watch Catherine Pickop’s video to find out more about the artist practice.
Repetition, stillness, and rhythm are essential elements in my work, each painting is my yearning for harmony of order and beauty. Each painting started with scoring on paper with precision, mineral pigment is applied on the scored paper afterwards.The transparent lines appeared become a white line on the surface. The gesture of rubbing mineral pigments on paper using my body temperature, skin and the pressure of my fingers alone to control the tonal movement in colour is for me, an intimacy between my body, mind, paper and the medium. The sound and scent, as well as the feeling, is therapeutic, meditative and liberating.
Art and photography fuse in the works of Roberta Morzetti and Mara Celani, both exhibiting at RAW, the Rome Art Week 2018, third edition to be held in Rome from 22 to 27 October.
Mara loves to shoot urban environment in which she lives, where sublime and decadence meet together, on one side the magnificence of Rome’s eternal light, on the other the secret beauty of her suburban decadence. But it is the details that hit her eye and her lens. She searches for microscopic landscapes and forms of inanimate and corrupt materials. Another passion of Mara consists in photographing sculptures and it is from here that the inspiration came to give new detailed light to the works of Roberta Morzetti.
Roberta Morzetti, artist from Tuscania, with her works shapes the material according to her way of seeing the world, now veined with suffering, now with disillusionment, but also with regeneration and re-start. Well Mara, through her objective and a molecular reading of some details of Roberta’s works, manages to abstract a work that is instead based on concreteness and on materiality.
So a new perspective for sculptures like BebéBangBang, Bona Dea, Coriandoli, R-Existence, C5-C7 to get to Bouquet, the latest creation inspired by the concept of vanity that so much inspired artists in the 1600’s with its symbolism allusive to the transience of life (the name derives from the biblical phrase ‘vanitas vanitatum and omnia vanitas’ or ‘vanity of vanities and all things vanity’, ed).
Photography becomes an instrument of exploration of the sculptural work, capturing a detail, a form, a meaning that allow the observer to enter into a new and different relationship with the work and with the sculptor himself.