Marta Pierobon, at her second exhibition for APALAZZOGALLERY, has created a journey for the visitor drawing inspiration from the Italian garden. The title of the exhibition, Keposhartus, is the acronym for the ancient Latin, Greek and German words for “garden”. Right from the title, Marta Pierobon has chosen stratification, as one of the typical features of her work, which is constantly characterised by overlapping styles, aesthetics and traditions, leading the artist towards the creation of a partially unexpected reality, based on all the layers involved yet having a completely new and independent life. The Italian garden has its roots in Classicism and has developed through architectonic and geometric features containing a new world, made of different materials and aesthetic forms. Elements of matter familiar to the artist’s research, such as clay, wood and fabric, interact with imposing works made of mirror-finish aluminium inspired by the pictorial tradition of the Impressionists.
The shapes and sizes on display aim to lead the visitor to a place created following the tracks and the study of the layout of the Italian garden. Marta Pierobon, remaining faithful to her research and evolving identity, exhibits a series of works based on the contrast between fantasy and rigour, fairy tale and geometric grandeur, chaos and rule.
The thought breaks up on the greatness meant as mechanical energy released by becoming matter. Cheerfulness and anger. Among the apparent lightness of fabric and optical geometries, visitors will be taken into a new world and, as in any other place in which to live, reality will become their reflection, be it a fairy tale or rigour to triumph. In this clash of human visions and materials, characters from books and plays reveal themselves in the garden settings.
The characters’ sculpture animation draws on one of the previous focal points of the artist’s research that has not been set aside: her love for theatre and stage design. During the duration of the show, the artist will continue to work on the “Ninfee#1/#2” as an ongoing project. The two pieces depicting nature will continue changing, without a prefix schedule, the artist will decide when to intervene on them, for the duration of the exhibition.
