Shining molecules of colour - Accademia di Belle Arti SantaGiulia

The Ephemeral Art of a Madonnara
who travels the world with her talent.
Vera Bugatti, a skilled artist in her technique, which makes
her the protagonist on the tarmac, plays a craft built solely on
her great identity of “madonnara”. She paints with a smile and
chalk, remaining bent with the knees on the ground for hours
and days until the completion of her drawing. Peregrinating,
according to the tradition of the highest expression of the poor
and spontaneous art, strongly rooted in our folk and religious
memory, she colours the streets of the world, allowing
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Generally, in this ephemeral context of art and
beauty, the chalk drawing still expresses an
immediate and effective code, intended to
involve the heterogeneous and sensitive
audience who still admires the works
painted on the road as essential
parts of a “carpet of honour”,
which predisposes itself
to the solemn passage
and the trampling of a sacred
procession. The genesis of the
image is therefore a demonstration
of “live painting”, consumed in front of
the audience during the performance of
singular representations destined to dissolve,
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Over the past few years, however, the images of the
amazing works during folk festivals that recur both in
Italy and abroad, reach a wide audience thanks to the
modern social communications media, with the aim
to perpetuate a gesture that is even exclusively
authentic and characterized by spontaneous
and participatory reality during the course of its
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Vera Bugatti, a young librarian in Brescia,
chases, expresses and spreads internationally the
charm of this world made of chalk and asphalt.
the creation of her work, winning the Bronze Medal as a “Master
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demonstrations and contests in partnership and cooperation
with accredited writers of various Italian and European realities,
and then - in a short time – she is selected to participate in the
American event Sarasota Chalk Festival 2012 with an international
team of 13 streetpainters, involved in construction of a
mammoth anamorphic work, that animated the painting with
elephants, tigers and lions, under the direction of Kurt
Wenner, the artist and architect who began painting
in Italy, in Rome, in 1982, after being inspired by
frescos and sculptures of the Renaissance, and
who’s known throughout the world for his
dazzling masterpieces that deceive the
human eye thanks to the perception of
an extraordinary scene that comes
to life only when viewed from a
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The craft of pavement
artist “with hat”, already
present in Europe since the
sixteenth century as a spectacular
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roads, sidewalks, cement and pavement
of urban centres, thus discovers a modern
interpretation accessible and new through
the work of Vera Bugatti, which moves away
from the usual representation of sacred themes
discovering new visual interpretations
and new iconic forms for the narrative of
Une vieille femme
avec chat,
the elegy of her time, thus describing a
Festival International de
movement that translates the expression
Street Painting de Toulon,
of image in a constant striving towards
France 2011. (3x3 m)
mass communication and towards the
participation of the large public.
Having devoted her education to the humanistic sphere,
specializing in the care of libraries and book editions of the
sixteenth century, she has cultivated for several years a deep
knowledge of the literature of the sixteenth century, and from
this wealth of science, poetry and memory relative to the Treaties
she draws inspiration for her works, actualizing the expressive
concerns of of Mannerism and interpreting our time with the
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of a free expressive language.
In Curtatone, a Municipality that has represented since forty years
the place of the annual event of the National Madonnari Meeting,
Vera Bugatti discovers a new way to externalize her art as an
exclusive expression of her intimate visions.
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with the asphalt, which she lives as a “canvas for her art,” and
that she proves to dominate through an innate sensitivity for
6
A rare example of modern passion.
So, Vera tells her stories and her mhyths through a great
sensitivity, that comes to life on the basis of an innate gift,
cultivated only by her passion; her “theatre” sees her in the
humble gesture of being bent for hours, her shoulders turned to an
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of exorbitant size and intense communicative power. Close to the
techniques of “Madonnari art” of the eighties, she experiments,
particularly in her 2D realizations, the technique of hatching that,
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colours, sometimes emphasized because of the use of a bold
perspective of anamorphosis, that in these modern trompe-l’oeil
times is exalted in the eyes of the viewer, in the astounding illusion
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prefers the use of black, yellow, green for the complexion and of
white for light shots. Inspired by the cornerstone of literature of
the sixteenth century, she leads and dares the free exercise of
the imagination in the scenario of utopian memory, drawing her
inspiration from the roots of the styles of the classical, northern
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combination within a magical and dreamlike bursting scenery.
stilemetadesign.it
Logo Simposio Giovani di Matteo Tortelli
Bambola Zombie
Polymer clay,
mohair e tessuto
(2012)
Roberta Scalvini
Il non colore nero è vittima del diffuso
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preconcetto che lo associa a una parte
polimateriche:
negativa della realtà. I colori scuri,
I protagonisti delle immagini di Roberta
“A vent’anni decisi che dovevo imparare
implosivi, sono lo specchio dell’animo
sono spesso mostri, o meglio, quella
a modellare e mi avvicinai alle resine
̷&KHͣEKNGFGͣPKTGEQPRTGEKUKQPGSWCPFQ
profondo, di ciò che è tanto denso da
parte di noi che anche solo per un
polimeriche e alla plastilina, materiali
ho iniziato, ho sempre avuto una forte
intrappolare la luce, non perché respinta
breve periodo della vita si è sentita
che utilizzo tutt’oggi insieme a
spinta a cercare di imparare a fare
o imprigionata ma perché interiorizzata.
emarginata, inadeguata, per nulla serena.
ceramica, stoffa, pelliccia sintetica
tutte quelle cose che ai miei occhi
e tutto ciò che può essermi utile
erano meritevoli di ammirazione, a
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“I miei mostri non nascono per fare
per costruire pupazzi o completare
cominciare dal disegno. Uno dei ricordi
abissali fra i colori è Roberta Scalvini,
paura, potrebbero al massimo dare
le illustrazioni”. Illustrazioni che
più nitidi della mia infanzia è mia madre
illustratrice e artista polimorfa,
l’impressione di essere nel posto
trasmettono una schietta vitalità.
che mi disegna con pochi tratti un
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sbagliato al momento sbagliato,
L’autrice, infatti, protesa totalmente
gattino e io che con fatica lo replico
Comunicazione.
qualcosa in cui possiamo riconoscerci
nel presente, coglie con delicatezza
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Impossibile esprimere il suo lavoro
insomma”.
e intensità le vibrazioni più lievi
bello. Inutile dire che non ci sono mai
nell’energia di chi la circonda,
riuscita. Da allora però, ho cominciato
con parole più limpide di quelle da
lei stessa usate: “Il colore è qualcosa
La passione per disegno e colore è nata
osservandone l’anima con lo sguardo
a disegnare. Poi a vent’anni decisi
di estremamente vitale. Nei miei
e cresciuta con Roberta. Il percorso di
libero dal peso del futuro ma illuminato
che dovevo imparare a modellare e mi
lavori è un modo per alleggerire,
studi rispecchia tale viscerale amore:
dalle esperienze del passato.
avvicinai alle resine polimeriche e alla
sdrammatizzare, ridicolizzare contesti
dal liceo artistico Foppa alla triennale
IQVKEKGXKXCEK\\CTGͣIWTGITQVVGUEJG
di Decorazione all’Accademia Laba,
Roberta Scalvini trasmuta le proprie
insieme a ceramica, stoffa, pelliccia
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lucide percezioni in illustrazioni,
sintetica e tutto ciò che può essermi
a dare una rapida occhiata senza
attraverso l’Accademia delle Arti
ritraendo in tal modo la realtà interiore
utile per costruire pupazzi o completare
comprendere quanta importanza
Digitali NEMO di Firenze, prima della
con maestria ma altresì ironia.
un’illustrazione.”
abbiano il colore e la vita nel mio mondo.
specialistica alla Santa Giulia. Il tutto
plastilina, materiali che utilizzo tutt’oggi
The Black non-colour is
express her work with clearer
even for a short period of
boundaries of the paper
sincere vitality. The author,
a victim of the popular
words than those used by
life was felt marginalized,
through the Academy
in fact, totally striving for
preconception that associates
herself: ““Colour is something
inappropriate, not peaceful.
of Digital Arts NEMO in
the present, captures with
it with a bad part of reality.
extremely vital. In my work
“My monsters don’t arise to
Florence, before the two-year
delicacy and intensity the
Dark colors, implosive, are
it is a way to lighten, to play
scare, at most they could give
specialization at the Santa
more unperceivable vibrations
the mirror of the deep soul,
down and to ridicule gothic
the impression of being in the
Giulia. This combined with
in the energy of those around
of what is so dense that it
contexts and to brighten
wrong place at the wrong time,
continuous experimentation
her, observing their soul with
traps light, not because it gets
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in short something we can
with different materials:
the gaze free from the burden
rejected or imprisoned but it
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recognize ourselves in”.
“When I was twenty I decided
of the future but illuminated
gets internalized.
takes a quick glance without
I had to learn how to model
by the experiences of the past.
understanding how important
The passion for drawing and
and I approached polymer
Roberta Scalvini transmutes
Roberta Scalvini is a master
colours and life are in my world.
colour was born and raised
resins and plastiline, materials
her own clear perceptions in
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Darkness is just a pretext to
with Roberta. Her study path
that I still use together with
illustrations thus withdrawing
and abyssal colours. She’s a
bring out light”.
reflects this visceral love: from
ceramics, fabric, synthetic fur
the inner reality with mastery
the artistic high-school Foppa
and anything that may help
but also irony.
professional illustrator and
a polymorphic artist and a
The protagonists of Roberta’s
to the Decoration Bachelor
me to contrive puppets or
And the nightmare becomes
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pictures are often monsters,
degree at the LABA Academy,
complete the illustrations”.
a dream in the shade which
and Communication. I can’t
or rather, that part of us that
then she has exceeded the
Illustrations which impart a
cannot be abandoned.
stilemetadesign.it
7
Lucenti molecole di colore:
Risale al 1956 l’anno in
cui Piero Bisazza decide
di industrializzare il
mosaico vitreo, donando
nuova luce allo splendore
di quest’arte antica
attraverso un linguaggio
contemporaneo applicato
EPPIKVERHMWYTIVȃGM
dell’architettura moderna.
Se è vero, come è vero, che la stessa
famiglia Bisazza si nutre da sempre di
un interesse spiccato relativo al mondo
dell’arte, del design e dell’architettura,
questa peculiarità è percepita anche
da parte degli interlocutori italiani ed
esteri, a cui l’Azienda stessa si rivolge
seguendo le tematiche vive della
cultura classica e contemporanea.
inducendo lo stesso brand, oggi
leader mondiale nella produzione
del mosaico in vetro, a rendersi
riconoscibile nello scenario
nazionale e internazionale
nel suo elemento distintivo,
in cui è sempre l’originalità a
rappresentare “la stella polare” di
ogni ricerca e di ogni nuova proposta.
Il senso estetico e puntuale della
bellezza è ciò che Bisazza intende
infatti trasferire nei prodotti
destinati al vasto mercato,
La tecnica del mosaico, se pur
oggi coadiuvata dall’utilizzo della
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grande attenzione, manualità,
The year when Piero
Bisazza decides to
industrialize the vitreous
mosaic, giving new light
to the splendour of this
ancient art through a
contemporary language
applied to the large surfaces
of modern architecture,
dates back to 1956.
If it’s true, as it surely is, that the same
Bisazzas have always fed on a strong
interest in the world of art, design
and architecture, this peculiarity is
also perceived by the Italian and
international interlocutors to whom
the company itself turns, following
the living themes of classical and
contemporary culture.
inducing the same brand, which
is today a world leader in the
production of glass mosaic,
to become recognizable in the
national and international scene
in its distinctive element, in which
its originality always represents
the “North Star” of every research
and every new proposal.
The aesthetic and punctual sense
of beauty is in fact what Bisazza
intends to transfer to the products
intended for the vast market,
The mosaic technique, though
now aided by computer
graphics, requires great care,
manual dexterity, attention
BISAZZA·MOSAIC
8
stilemetadesign.it
Shining molecules of colour:
Stile Metadesign
di Elena Cecchini
the Florilegium
QUARTELY
ISSUE NUMBER 4 - YEAR 1 - 2014
Management, Editing and Administration in
Via del Sebino, 10 Brescia 25126 - ITALY
Authorization no. 28/2013 released by
the Brescia Court on 19/12/2013
from the camellia to the colour of knowledge
[email protected]
www.stilemetadesign.it
Culture, focus on the territory of Brescia, place for meeting and exchange
of knowledge, especially for younger academics.
These are the objectives of the “The Florilegium Cultural
Association”, born in Brescia a little over a year ago thanks
to the efforts of four young enthusiasts, decided to bring
out of the university lecture rooms the culture of every
period, so that everyone can enjoy it.
8LIVIEVIJSYVHSQMRERXȃ
IPHWQYWMGPMXIVEXYVI
8L
and
nd history of art, history and anthropology,
history
to and natural sciences.
The thirty
h members of The Florilegium start
from a shared duty: to spread the culture,
to disseminate
the knowledge which has
see
made aand makes Italy great.
The logo
g of the association is a
camellia,
l the symbol of the famous
novel by
b Dumas embodying the
depth
h of
o knowledge that overcomes
the continental
borders. The chosen
o
colour
ou is red purple that recalls the
past
asst returned alive thanks to the
passionate
love for knowledge that
pas
lights
up the founders of the Association.
li
It is the red of blood, of life that flows in the
veins, lymph and nourishment for man as much
as the profound knowledge, ancestrally rooted in
the human being.
Green is the colour of the true knowledge,
combination of yellow and cyan, that is the expansion of
the god into rational linked to memory.
In the true knowledge humanity is one single being; we perceive how
the Knowledge is deeply rooted in our soul without colour, but that includes
all of them by reading a distant myth associated with the birth of the camellia.
Susanowo, the god of wind, rain and hurricane, determined to liberate men from
the siege of a terrible eight-headed dragon-snake that every year demanded the
UCETKͣEGQHC[QWPIIKTNOQWNFGFCFKXKPGUYQTFKPVJGHQTIGQHIQFUCPFWUGF
it to shoot the dragon. Susanowo then proposed to the princess who would be
UCETKͣEGFYKVJQWVJKUKPVGTXGPVKQPCPFDQYKPIFQYPDGHQTGJGTJGRWVJKUDNQQF[
sword to the ground. Magically the green stems of grass, wet with the blood of the
dragon, turned into a shrub with glossy foliage and white flowers mottled in purple,
unable to lose petals and that fall entire from the plant: Camellia, also called “rose
of Japan”, was born.
In Greek mythology, the rose turns from white to red because of the drops of
blood lost by Venus while she was running towards the dying Adonis, assuming
the meaning of eternal love, whereas the victory of rationality over bestiality is
transposed into the story of Theseus and the Minotaur.
The purity of white doesn’t get dirty but rather it takes on, even here,
XLIZEPYISJTEWWMSREWPSZIJSVPMJIERH]IEVRMRKJSVXLIMRȃRMXI
characterizing every man as such, united by the same passion and desire
for the Eternal beyond all barriers.
stilemetadesign.it
DIRETTORE RESPONSABILE E DIRETTORE ARTISTICO
Editor-inChief, Art Director
Elena Cecchini
PUBBLICATO DA
Published by
www.elenacecchini.it
DIRETTORE SCIENTIFICO
3CIENTIÚC$IRECTOR
Prof. Riccardo Cecchini
COMITATO SCIENTIFICO
3CIENTIÚC#OMMITTE
Anna Gili Designer Artista
Prof. Riccardo Romagnoli
REDAZIONE
Editorial Staff
Elisabetta Ballarin
Prof. John Barboglio
RESPONSABILE MARKETING
Marketing
Elisa Moreschi
COPERTINA
Cover
Ilaria Trombi
IMPAGINAZIONE GRAFICA
Layout
Ilaria Trombi
SITO WEB
Web
Annamaria Valcamonico
BORSA NUOVI ARTISTI
List of new artists
Accademia di Belle Arti di Brescia SantaGiulia
Prof.ssa Ilaria Bignotti, Prof. Paolo Sacchini
CON IL PATROCINIO DI
With the patronage of
Partners
Comune di Brescia
Distribuito da
Stampato da Pixartprinting SpA,
a Cimpress Company
Via I Maggio, 8
30020 Quarto d’Altino (VE)
Gennaio 2015
Libreria Serra Tarantola
Brescia
Copyright 2014 Elena Cecchini
The total or partial reproduction
of the contents of the magazine
without the permission of the
publisher is forbidden.
15