Quotes


Laura Vecere
L'arte della scienza ovvero la scienza dell'arte (La Luna)
The Moon

Il volto nascosto del giardino
The hidden face of the garden

Amnon Barzel
La natura vista attraverso la trasparenza dei polimeri
Nature seen through the delicate transparency of the polymers

Giuliano Serafini
Ipotesi spirituale
Intimations of Spirituality

Patrizia Landi
Artisti in Viaggio 1997

Lara Vinca Masini
Artisti in Viaggio 1998

Carlo Sisi
Reliquiari cosmici
Cosmic reliquaries

Lorenzo Bruni
So quello che hai fatto

Nature seen through the delicate transparency of the polymers

The poetic utopia of Donatella Mei, based on the delicate transparency of a polymer (PVC, plexiglas) and acetate visual language, and on the technology of light and xerocopy, creates an harmonic reconciliation between nature and technology, one of today’s major aspiration. This is achieved through a purity of signs belonging to the world of architectonic structures. Far away in the background are the echoes of those struggles caused by the anxiety of the Industrial Revolution in the second half of the nineteenth century. In her artistic sensitivity Mei has adopted technological products as active esthetics elements. One could say that her work is an expressive response to Walter Benjamin‘s formulation defining the disappearance of the "aura" in Modern art as a result of technological systems of reproduction. This also relates to Carl Einstein theories in his book "Fabrication of Fiction" linking artistic creativity to the complexities of social-industrial development. In Mei’s works exists a conscious fusion between memories personal and art historical and an attraction to the polymer world which responds to her sense of beauty. This is especially presented when combined in symbiosis with emotions stirred by nature as it appears to her eyes in her Tuscany’s garden, expressed through abstract or representational signs, by means of traditional or contemporary materials. In her inner "laboratory of purification" Mei handles with respect all forms and shapes which underline those structural properties, implicit in her works, comparable to Italian Renaissance art, where landscape was often included in an architectural vision. Many of Mei’s works, from the paintings and drawings with gauze to the silk-screened plexiglas, and mainly the small sculptures in copper, PVC and light, can be defined as concept-construction of transparent architectonic monuments, waiting to be "planted" in a contemporary metropolitan environment. Mei’s studio, on the border between town and country is in itself a testimony of a border line, as on a razor’s edge, between expanding urbanization toward flowering nature and the unyielding nature itself: a love affair between the citified citizens and their owns deep need of Nature.

Amnon Barzel, 1999