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Simonetta Berruti
 
 
关于此艺术家

About my art concept, my sculptures must seem more natural as possible: the artistic works must be like a a natural object , shells , stones,a big grain of rice, the leaves, the bones.The artistic intervention must seems a secondary part respect to a work that must live for own tension.
For ll my ceramic works I used grès.The glazes used for these sculptures are all glazes fired in an oxidizing atmosphere in an electric kiln oven at 1200 degrees.
The other type of procedure, only possible in gas ovens, is the so-called “reduction” method in which oxygen is removed during a determinant phase of the firing, in order to create a chemical reaction and consequently chromatic variations in the glazes.

The formula of the white glaze is formed by a composition, its major component is feldspathic sodium, calcium carbonate, magnesium carbonate, baric carbonate, zinc oxide and bentonite. From this base other coloured oxides are added at variable percentages ( cobalt oxides for blues and greys ) and oxides based on praseodymium and zirconium ( for yellows and greens).

The red – yellowish highlighting are the result of the addition of glazes derived from iron such as ilmenite and rutile which create a more “vibrant” and less dull effect on the surface.

All sculptures in this gallery are created by the technique ”lucignolo”, which is by hand; rolling the clay in long strands and building up the form. It is an extremely slow procedure which however permits the creation of even large dimension forms consisting in starting from a base from which small pieces are slowing added and modelled according to the desired form. Given the plasticity of the material, the work must often be suspended in order to wait for the ground to consolidate.
Once the form is complete and the surface is “ leathery hard” one intervenes with small pointed instruments, lamé and steel needles to create the engraved reticulated and corroded effect which is a dominant characteristic of the works exhibited.



 
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SHANGHAI SHAPE

2004
53x42x20

The title is reminiscent of the ancient game called in italian “Shanghai”, or “Mikado” where the talent lies in being able to move a stick or a series of sticks without moving those underneath. A series of points, like sharpened arrows overlap one another intersecting on the superior part of the sculpture, made up of a simple lenticular disk. The inert surface thus corrodes throwing itself into a game of plasticity of small cuts and wounds where the skill of the game doesn’t consist any more in the absolute immobility but in the search of vitality and movement which destroys the petrified inertness of the material itself.

IL SOGNO E LA CONCHIGLIA (The

2004
19x40x54

A simple form, like a “comfit” stone in which the static mass explodes in thousands of fragments of splinters, tiny sharpened crests to the point of transforming itself into an oniric seashell which lives within the contrast of the apparent irreconcilability of being different. The inert mass thus metamorphosizes into something surprising; solidifying in a form and hence imprisoning a reminiscence of something vaguely natural and primordial.

DIETRO IL VELO (Behind the Ve

2006
146x38x18

Here the veil (that one of the seclusion sisters of St. Catherine convent in Prato) begins metaphor of protection and safety. Behind the veil remains only a small glimmer of darkness, where no one light is be able to penetrate and the loneliness and the separation from the world begins an absolute certain

YELLOW BONDAGE

2006
stoneware glazed
55x43x19

In this sculpture the expressiveness and the harmony is searched for the game of weavings and chromatic contrasts of yellow and blue-brown glazes. An essential shape, a disk that raises ending in two little pointed horns, is subjected and compelled by a yellow band that tangles forming a surprising game of lights and shadows.

doppio sogno twin dream

2007
72x83x18

doppio sogno twin dream
A double triangular sculpture, two specular parts divided but, in the same time,simbolised both the same twin dream. Remain ,over all, the same oniric sensation of evanescence and fraility.

gorgonia

2005
24x38x48

gorgonia
Almost a natural sea creature, the stoneware begin light as influenced and moved by a submarine wind

fragile giorno frail day

An explosion of light pale yellow rips up the night but it''s only a moment because the darkness of a frail day will return to close all around.
 
教育程度与个人自传
I studied in Florence the classics and received my degree in antique literature in the archeological context.

At the same time I began to be interested in sculpture , at first guided by Leonetto Tintori, famous painter and restaurer of frescoes and successively from 1991, ceramics with the sculptor and potter Salvatore Cipolla.

In 1995 I founded together with other four ceramicists the group “Keramèia”, with which I exhibited in diverse cities.

From 1998 onwards I have continued the activity of sculptress and ceramicist on my own partcipating in solo and group exhibitions.

Exhibitions

1995 Prato, Palazzo Pretorio

1995 Montecatini Terme (PT) , Saloni espositivi dell’Azienda di Soggiorno
e Turismo

1995 Tenno (TN), Casa dell’Artista

1998 Carmignano, (PO), Palazzo Comunale

2002 Cerreto Sannita, (BN), Biennale di Ceramica

2003 Prato, Galleria New Assioma
2004 Prato, Palazzo Datini

2004 Milano, Galleria In Arte

2004 Genova, Galleria San Bernando

2004 Prato, Galleria Carlo Livi 115

2005 Prato, Cassero Mediovale, collezione del museo d’Arte Moderna Sacra di Brescia

2005 Merano(BZ), Galleria Martin Geier
2005 Pisa, Centro Arte Moderna

2005 Brescia, Centro “Mater Divinae Gratiae”

2006 Potenza, Galleria Civica Palazzo Loffredo
 
未来的展览
2006 Bruxelles (Belgium), Cocoon fair : saloon de design et deco (18-27 of november 2006)
2006 Bastogne(Belgium) Gallerie Leukòs (2 december of 2006- 13 of january 2007)

 
网站:  www.simonettaberruti.com
 
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