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26/5/2005

Mimmo Roselli

Kentler International Drawing Space, New York

Drawing Space

A wall drawing, incised with a grinder. The concept: to visually connect by lines cut into the walls of the gallery, three geographic locations of present importance to the artist: Bagno a Ripoli in Tuscany, Italy where he lives; Red Hook, Brooklyn NY where he is doing this new work; and Santa Rosa in the Chaco region of Bolivia where he has been working for many years and is founding an art school in the forest.

The cut drawn lines will cover the walls, creating a magic meeting space of ideas and aesthetics. To signify distances between the places, small interruptions will be left between the arms of lines and low, near the floor below the interruptions, numbers will indicate geographic locations.

Write Mimmo Roselli about his work:
Since some years I have dedicated my work analyzing the concept of the border: maximum reduction of the pictorial material (only using the glazing and layering technique), distinguished by lightness and transparency and at the same time by stratification and a great richness of details: layering upon layering of putting glazing color to reach something that is not a body of matter, but a transparency with thickness, with weight, very light, that take his own power by depth. The spaces, so built, are furrowed by signs, that cross like a walk in a vast landscape. So that there is no loss of history, no loss of variety, no loss of complexity, even if the is an apparent absence of things represented. This basic idea is linked to the “borderline” concept: everything that is on the border has the characteristic of being extremely unsettled.. This situation has an enormous capacity, the power of changing. The model considered takes, on a collective dimension, the relationship with a “borderline” environment. This gave rise to the pictorial production in an Indian's village of Bolivia, in a favela in Rio de Janeiro, in a home for the old in Italy and to the projects of artistic intervention in hospital.
The direction I see it heading is more and more to the necessity to catch an absolute need of silence, but not a passive silence, on the contrary very active and distinguished ; for this reason my work is a false minimal, because is rich of many little variations (the glazing ground) and of vibrating courses, traced not with light hand using brush or pencil, but using an edged blade that cut, but don't tear, and that make the trip indelible (the sign). All that because I want to reaffirm a kind of aesthetics of beauty, maybe not showy, not unbecoming, subtle and sensual, that comes from that silence necessary to be able to hear a possible dialogue between ethics and aesthetics.

In the last two three years I'm working to a kind of installations, I call them environmental sculptures, lines drawing a space, tensed from a wall to the other wall, disappearing into the wall and appearing to the other; there are a sign of a link, of solidarity between peoples, memory of the thousands of human destinies: meetings, disagreements, embraces, perspiration, perseverance, toil, pain, love, thought, omnipotence, poverty, filth, innocence.

The artist lives in Italy and works internationally in Europe, the United States and South America.
In the last few years we remember: Lodz Biennale, Poland Oct.2004 (see the report by Christopher Lyon in Art in America, March 2005); “Il paesaggio dell'acqua”, Ashaffenburg Museum, Germany 2003; “Round Thetis” (permanent installation), Venezia Arsenale, Italy 2003; “Cosmogonia” (oms), Bergamo Museum, Italy 2003, Heidelberg Museum, Germany 2002; “Samadhi”, CAM, NYC 2002; “Der Berg”, Heidelberg, Germany 2002; “Terra Agricola”. Open Air Museum Arterra, Berndorf/Wien, Austria 2002; “Viajes a Bolivia” (oms), La Paz Museum, Bolivia 2001; “Del paisaje” (oms), Buenos Aires Centro Recoleta, Argentina 1999; Editor of the book “Art in Hospitals”, Gli Ori 1999.

Kentler International
353 Van Brunt St. - New York

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