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Fiorella Cicardi Nolo I burn with water wash with fire

OLYMPUS DIGITAL CAMERA

edited by Roberto Borghi
from 2 to 25 marzo 2017

Il sottotitolo della mostra di Fiorella Cicardi, Burn with water wash with fire, It draws its meaning from the figurative tradition of initiation and scope, in some ways, alchemy is where you insert the research of this artist who was a pupil of Luciano Fabro at the Brera Academy.

Burn with water wash with fire is also the title of a work dedicated to freight neighborhood - North Loreto, in which it is located the Dolomites Space. This new urban identity, according Fiorella Cicardi, He would need to rethink not only in social and economic terms, but also symbolic. a territory, in the artist's thought, It is first of all an entity characterized by energy factors present in its natural conformation and in mapping its borders. Its linear shape, its underlying geometry, is the bearer of a meaning to be identified through a process of catharsis (burn ... wash ...) the many ephemeral interpretations of purely socio-economic order.

La mostra presso lo Spazio DoloMiti proporrà altre due opere scultoree di Fiorella Cicardi. Made of slate, 72 depicts a broken pentagon 72 rays. Elementum is instead composed 5 White marble elements in which the protagonists return numbers 7 e 2, this time intended as a doubling of 7, so that "the two 7 united quadrature - writes the artist - symbolize the union of the earth with the sky in an endless spasm in motion that tends to perfection ".
Potremmo osservare le opere di Fiorella Cicardi essendo all’oscuro delle loro premesse teoriche. What we would see, in this case, are net sculptures, massive, although not large, meticulously shaped, quasi polite. Wall Sculptures, if the wall were able to hold them, or from the floor: flat sculptures, or better sculpted surfaces, perhaps to be more efficiently designed.
The first strong feeling is that the work of this artist consists primarily in giving plasticity to the drawing, and that therefore both in the first place drawing. But - it would be questionable - not always the case as well in sculpture? But I'm talking about something different from the activity of a sculpture of the card design, which also it seems rather disused for some ten years among the few artists who call themselves sculptors. No, in this case the impression is that the drawing is the primary given, the fundamental element that, to manifest itself in a more figurative, you must give, or you have to hew, in stone.
The effect is short, from tables of the law, but a law precisely drawn instead of written. He then realizes that this law, This normative dimension, It is grafted onto therefore clearly a symbolic geometry. Not wanting to relay the reading of such symbols, It could still feel the inquisitorial power of the symbol: in the sense that the symbols, when are these, pose questions; the symbolic quality of symbols, pass me the inevitable pun, indeed it depends on the quality - in terms of depth, di incisività – degli interrogativi che sanno suscitare.
Instead we could observe the works of Fiorella being aware of their philosophical presuppositions, theological, cosmologici. In this case we should have previously read dozens of pages of detailed notes that I have suggested in vain for the author to make available to the visitors of the exhibition. From this reading would discover that the sculptures, and more generally the expressive and existential path of the sculptress, It fits within that framework that I have called "the spirituality of the vanguards in most writings".
The twentieth-century avant-gardes receive an inheritance from the symbolism (which in turn he had inherited from Neoplatonism ... etc.) a voltage to be, at the same time, "Absolutely modern" and resolutely archaic. Behind this attitude there is a spiritual conception of reality that does not accept the dogmas of the canonical religions, with their alleged evidence, It notes the pervasiveness of the mystery at all levels of reality, especially in the scientific sphere that explores insistently, and tries to penetrate by degrees, ie following an initiation method. Here, works by Fiorella are filled with initiatory thought - an adjective, "Initiation", I prefer to 'esoteric', which it is always a synonym. This modern and archaic spirituality is clearly paradoxical: and in fact it is manifested through an art iperspirituale ultramateriale and at the same time, Also it is the art of Fiorella.
The meeting point of spirit and matter is a hyperbolic number: and in fact the art of Fiorella is grafted on arithmetic cosmological and sacred geometry. Everything that exists and makes sense can be read and formatted in a numerological perspective: even a brand new district, or perhaps better a territory born in a test tube within the more or less advanced urbanism laboratory. Even to this pseudo-district would do much good to be burned with water and washed with fire: He would find maybe we can have not only a reference track, but also a real design background.
We could observe the works of Fiorella being aware of their theoretical substrate but apart from it, or trying to go beyond it. We would then have the feeling that those symbols so minutely hatched, those forms made according to a sacred order, pose the puzzles much more radical than any possible solution. Their shapes such clear, their surfaces so minutely furrowed, does not diminish the sense of mystery that emanates from these alarming.
Are resolute works, he decided, to establish itself in their eyes, but fortunately not resolved. The question then remains open, and that is why we insist on observing these works porcelo. The same design that they manifest themselves is precisely outlined, but it is not limited, It is not concluded: the line of Opera 72, for example, they are actually 72, but they could go on forever despite starting from the same center. And the lines L Elementum disclose, more that enclose, the sense.

Roberto Borghi

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