On the occasion of Euroflora 2022 Banca Carige presents “ The Substance of Color. Floral suggestions by Maria Rosa Vendola ”, exhibition Partner Event of the event.

The works on display show the originality and versatility of the style of Maria Rosa Vendola , known as a sculptor, although her initial approach to art was precisely with painting (in particular, after her studies with the impressionist master Renato Damasio) . In this phase, his researches have mostly favored traditional themes, such as landscapes or floral subjects, to the point of almost unconsciously arriving at the informal style; a style that will allow her to express herself with greater freedom of language and with which she has begun to approach sculpture in a completely innovative way.

In fact, if we usually imagine the arts or artists as graceful Muses gathered in an idyllic Parnassus, no one would think of moving them to a less bucolic environment, such as the interior of the forge of Vulcan: this, before meeting Maria Rosa . Vendola . In fact, his privileged working environment is not only the atelier, but the industrial world. She is in fact known for being the only artist in the world to make sculptures from materials such as polywood (propylene, wood powder, metal) and methacrylate-optix.

Compounds that are used in the automotive, nautical, construction sectors and that no one had ever thought of using creatively, considering both the technical difficulty of execution and a certain degree of danger in handling these substances at over 300 ° C. However, all this did not stop our artist from wearing thick protective gloves to start shaping these incandescent filaments and bringing out extraordinary works of great emotional impact. A technique perfected over the years thanks to continuous research and experiments in the field, which have allowed it to work these materials with extreme speed.

The complexity lies precisely in being able to manipulate these still incandescent compounds, quickly, before they congeal and are no longer moldable. It is therefore impossible for her to carry out studies or preparatory sketches, because the material she works on requires immediacy and instinctive and urgent gestures, which do not require repentance or hesitation. The result of this production are therefore sculptures that seem suspended in time, in a sort of limbo, but which at the same time are able to draw attention to movement, to a potential dynamism, as if they could still change and transform themselves.