In the space immersed in the Piedmontese countryside and transformed into a place dedicated to art and artists, always under the banner of experimentation and dialogue between different disciplines, Cascina IDEA announces the 2022 programming: first appointment in May with Belén Uriel.
During their residencies, respectively in the months of March and April and July and August, the two artists will work with shapes and colors giving life, and breath, to new objects that are reunited with their own beauty, escaping the production seriality to open up , figuratively, to an unexpected hug.
The group of sculptures he will work on during his spring residency at Cascina IDEA , says Belén Uriel , "represents a continuation of my research project on the reciprocity between the human body and everyday objects, focusing above all on the universe of objects used for leisure and recreation. I like to work with what I have called "universal objects", objects that are so familiar and ordinary to all of us that they become almost invisible ”. Therefore, everyday and highly significant objects. And signifiers, as Roland Barthes would say in his treatment of the semantics of the object. For this new production Uriel fixes his gaze on the idealization of nature - from the suggestion of Jules Verne "a green that no artist could ever get on his palette, a green of which neither the various shades of vegetation nor the shades of the clearest sea could ever produce the like! If there is a green in Paradise, it can only be this shade, which is certainly the true green of Hope "- and the ways in which this is produced and marketed, taking inspiration from consumer items created for engaging with the external environment, such as helmets, body protectors or outdoor furniture. In doing so, Uriel seems to construct a semiology, more and more than as a science of significations, as a pertinent gaze towards the world. The sculptures, in glass, iron and bronze, are above all objects that are apparently there for other reasons - to eat, dress, furnish, play, move ... -, but which have a more precise social and anthropological purpose : that of being means of signification, scattered signs and real languages. It is in fact through a subtle interaction between materials that Belén Uriel tries to “create a dialogue between the observation of the original drawings of the objects, the shadows of their materiality, and their relationship with the body, to reflect, through a sculptural vocabulary, on a series of obsessions that are defining our present time ”.