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

Cosmic reliquiaries

The lyrical commitment of Donatella Mei has as its fulcrum nature, and from nature almost assumes its likenesses, engulfing itself in the poetic materials of which the work is made up - as transparent as ocular membranes or like the panes of a window - reliquaries of herbs and lights that were at the start transitory and fragrant and which, when entrusted to the metamorphosis of art, become then absolute manifestations of an interior reality, forms of a grace reflected in the poetic identity of the artist. Donatella is among those who suffer the siege of nature which rummages through rooms in order to insinuate itself, at one and the same time a plastic and esoteric apparition in the phases of creative action where material and form coexist indifferent to the search for its own past and its own future. Safe from convention and convenience, the artist seems on the other hand to be rethinking the aesthetic principles that have presided over the evolving of the concept of nature and the ways in which it is represented, placing itself on the delicate line that separates analogical and abstracting procedure from the sharing directed at the variety of the real. If on the one hand, in fact, the diaphanous and strong compositions of Mei are able to find fruitful roots in classical traditional that defined the enquiries of nature as being arduous ("She with much jealousy subtracts herself mainly from under the eyes of the everlasting architect; and, where she shows herself at her most visible, must never be separated from an almost infinite number of obstacles which make imitation of her hard and ungrateful"), on the other hand receive the investiture of the solemn matrix of a renewed cosmos, renewed from being precious containers of fragments that appear destined to stop the memory of time and, together, to incubate the landscape of a future humanity. Herbs and waters, reflections of light or light that becomes the active element in the conformation of the work, are therefore the principal components of poetical work which harmonises past and present and which entrusts to the signs of nature the task of preserving from daily materiality individual experiences able to grasp, beyond the transparency of volumes, symbols and metaphors of antique origin. The thoughts of Leonardo on the limpidity and opacity of waters, containers of teeming and mysterious life which in turn reflect the multiple appearances of nature around it come to mind. Or else the vegetal and anthropomorphic myths which can still be traced, as Pasolini has also taught us, in the rituals of country life; or again the conception of the window as "archetype of terrestrial receptivity", the very private observatory on the limiting of the world, from which the experience of the visible and the adventure of individuality moves. When she arranges her coagulations of diaphanous material and potential light on the grass or within the abstract perimeter of a room, Donatella delimits therefore a space of intense meditation around the 'history' of nature (and its own artistic identity), consigned to the transparent pages of PVC and plexiglass just as to purified surfaces where the "vérité par fiction" seems to be refracted in classicist idealism; while the evidence of engulfed fragments testifies to the militancy of the artist who engraves her presence - physical and spiritual - in contemporary time and space, from which she subtracts humble traces and destines them to a variegated apparatus of cosmic reliquaries. Those which present themselves today, crystalised and immobile in the symbolic cold of a suspended season, bear layers of leaves composed in the form of a casual herbarium arranged in multiple meanings and to the rhythm of singularly coincident verses: "Layers frozen in delight / or misty as in the past / of their own exalted essence / unlimited force of mind and / stretched out revival in shocks in spot-spies / between fatality and a liquescence/ which are increasingly mine / because they have gone out of control into the gray / gone out of control - exhausted branches / I a branch very light branches almost like swarms ...". The diaphanous volumes superimposed by the artist on the transience of those organic relicts are really metaphors of the form which remedies transition of events by fixing their substance in aesthetic and long-lasting passages, in delicate metaphors of life observed with the heart and the mind lit by poetry.

Sticks and threads
Of herbs
ruffled bewitched
become bent
become dead
become blown out
become soups
become become become

Carlo Sisi, 2003