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

Intimations of Spirituality

The origins of the poetic universe and the art of Donatella Mei lie in a garden. A private archtype, which ebbs and flows like a return to consciousness, recognizable and memory. Mei's work has never strayed from her sentimental attachment to that hortus conclusus, she has never given in to the attraction of new themes. Her persistence and loyalty to this narration has yielded a fertile experience: an organic evolutionary process that has led her from painthing to photography, from silk-screen to xerocopy, from industrial materials like plexiglas, PVC and acetate to gauze, rice paper ... all the way to the "immaterial" medium par excellence: light. It is not difficult to grasp the fact that, throughout this acrobatic balancig act between different media, the underlying thread becomes a sort of ascent of matter towars its sublimated "double", towards "materiality", towards a Platonic idea of the medium as used by the artist. This process, in itself so reminiscent of alchemy, refers constantly to the practices of the alchemist: gold and copper, metals always associated with magical and thaumaturgical proiperties, that Mei places at the core of her search, a quest suspendet between signs (and, therefore, symbols) and objects ... reality, in short. Her declared, or undeclared, objective is cleary to make these two antithetical categories coexist within the same expressive dimension, attributing to symbols the same objective prerogative, giving them new meanings through infinite "concrete" variations. And, conversely, stripping objects of all those instrumental prerequisites that make them the antagonists of form, transforming those same objects into her followers, her subalternates. And thus, even her constant use of transparent or reflecting materials becomes a clear indication, almost a declaration of intent: it is as though the artist were envisaging the conquest of a further visual and poetic dimension, projected beyond the usual dimensions and within which she has constructed her own vision. We shall call this new opening "Intimations of Spirituality", where things spiritual appear to adapt to the Zeitgeist and to take on its characters of virtuality and artificiality. Work in progress: this is what Mei is offering us. Work that is constantly being born again, out of itself, out if its own formative processes, out of itis multifarious technical and formal innovations. As though it were "recycled" at each stage of its creative process by what we might define its historical matrices. And, most of all, as though there were no interruption at all between its earliest and its latest expression, as thoug there were no distinction at all. In other words, as thoug we had become captives of the infinite enchantments of this garden we know so well.

Giuliano Serafini, 2000