FRAGMENTA

Bi Box Art Gallery, Biella/ Mà Gallery,Montefalco

Curated by Alessia Carlino

Montefalco

FRAGMENTA _ A VISUAL RETROSPECTION/

For an aesthetic apology of fragmentation.

The aim is not the heart but the retina, says in a famous text Victor Vasarely, taken from the essay entitled The plastic work in your daily life, a statement that embodies the artist's desire to meet the ability to identify the viewer with the artwork where “the natural aspirations of man prove useful to the enjoyment of the senses”.

Retina is the anatomical component more interested in the work of Micaela Lattanzio, a synoptic view leads the eye into the anchors of a multifaceted reality composed of fragmented elements and that defines the sediments of a research devoted to narrating the complexity of the human being.

The technical process, in which the artist comes to give substance to her intellectual conception, is the synthesis of a training program that begins within Lattanzio mosaic art. Every aspect, every special character of a face or a member of the human anatomy, triggers completely new forms of expressive composition, in which the characters of an aesthetic immaterial belong to a purely scientific research that goes into the systemic understanding of the molecules.

Micaela Lattanzio structure a process that leads to dismember the unity of an epidermal texture. The body becomes an element of pure abstraction, it is not possible to attribute a spatial location, a specific weight, a defined time. “The concept of an inexhaustible inner domain is the correlative of the power of self expressive articulation, states in its metaethics view Charles Taylor. The sense of the depth of their inner space is one with the perception of the possibility of entering into it and bring out the content, which is what we do when we give voice to our inner self”.

The artist, like Taylor’s notion, includes, in its iconographic manipulation, roots of an inner perspective that focuses on what defines fragmentation of contemporary psychoanalysis. This holistic view of reality composed an expressive language that modulates the image, and, at the same time, is imprinted on a fragile medium such as paper that Lattanzio model and plasma, in a plastic sculptural mode, intended to give depth to each individual fragment embedded in the composition.

There is a perception of self as continuity, rather there are intricate paths of consciousness, were tangled unique perspectives ever, illusory construction of a reality that never owns the characters of objectification: there is the subject and its relationship with the object which contrasts.

In the works of Micaela Lattanzio there is an iconologic and aesthetic will that infuse the characters of a relative existence, to perceive the universe as a machine that is the result of a complex collective process. Individual identityneeds to be recognized in the others, the individual is a social animal, and also it is an expression of a code imposed by a Western-style culture. The artist becomes the deus ex machina that subverts and impresses with strength the weight of a distinct reflection which aims to overcome the dogma of the person, to de construct a reality that is not encoded in our image but which essentially reflects a kind of transfiguration where man is the heart and the center of the universe.

In her aesthetic and conceptual methodology, Micaela Lattanzio composed an original vocabulary in which explore a narrative dimension that goes beyond the epidermis, an investigation on the man and on the authenticity of his body where form and concept come together into a work that doesn’t belong to a unitary center of social identification, but that is the principle of an "infinite nuclear fission".

Taylor concludes in his reflections on the research of the self: "The modern subject is no longer defined only by the power of rational control detached, but also by a new power of self expressive articulation, or by power, that from the age romantic, was attributed to the creative imagination. " A new power that is, ultimately, the reason constitutive of the human being.

Biella