staff Elisa Cella
edited by Alessia Locatelli
From 28 November to 15 dicembre 2012
Biology is the study of complex organisms that seem to have been designed for a specific purpose. (Richard Dawkins). L’Arte è traghettatrice di immagini e catalizzatrice di archetipi. Elisa Cella è entrambe le cose.
A successful union of art and science in the exhibition by Elisa Cella, Genoese artist, presented in Milan 28 November at Space City Art.
There is a relationship between the invisible Logos e Myth, that allows a dialogue between instances that seem distant. Already Gregory Bateson wondered if there was a profound analogy between grammar and anatomy, Also wondering if an interdisciplinary science was able to speak both languages.
If the grammar is a finite sequence of rules necessary for the proper construction every language and anatomy is the study of the structures that make up a body or a work, This exhibition is the track to follow for a contaminatio between fields of inquiry that seemed distant, but they have now gone beyond their borders sectoral. The postmodern science, through quantum physics has made within the scientific disciplines some characters of novelty. If before there was a linearity, clarity, in modern physics entering the nuances that open the search for new indicators - not exactly scientific and indefinite – that belong to categories of aesthetics, which "beauty, strictness, persistence, elegance and grace ".
Elisa Cella conceives a pictorial reworking of this complex relationship, creating a dialogue between scientific and aesthetic categories. In the works on display, performed leaving unchanged the white background of the canvas – as a field of inquiry sterilized – appear biological elements, cells that bloom, open releasing molecular components in dialogue with white space, creating evocative landscapes, by similarity, recall the pictorial work of V. Kandinsky at the beginning of the last century, as soon as the discovery of the microscope allowed him to explore worlds previously unthinkable.
A job done with the expertise of a scientist, composite elements repeating the graphic sign of the circle – in different dimensions – fino ad ottenere la Forma finale dell’immagine nella sua completezza. Il ripetersi methodological sign, combined with strength the finished work, allows you to figure out how Elisa has done just first the scientific principle / analytical, joined the artistic, has allowed us to make explicit in his works the fusion between science and aesthetics, reversing in a certain sense, the concept of Carmagnola of "sensitivity systemic" which is, scientific attitude, the "artistic principle of understanding" that precedes and dominates the analytical principle of explanation (Carmagnola,1989).
The colors used, conflicting and strong, make work pleasant ending but covertly unstable and bring to sign a further contribution to the field of scientific inquiry: exactly as happens in microbiology in which the organisms are highlighted and made visible through liquids contrast. Even science, indeed, intrinsically possesses its own aesthetic; from a first intuition is passed to the study of formulas and diagrams for linear systems and functional, with rhythm and elegance. Just think of the beauty and simple complexity that arises from the equation most revolutionary of the century: E = MC2, a formulation defined, basic and simple, certainly "smoother" than the morphogenesis of the intuition of Albert Einstein.
The work of Elisa reminiscent in their language these formulas, linear but explosive, capable of generating systems autopoietic where the burst structures regenerates, contaminates and becomes just like in a body. A complex work, a reference constant between the patterns of reason and those of thought, to remind us that life abandons carriers forecasting and control models declined in unexpected, suddenly escaping to each category and method.