A poem, a romance, a work of art thrills and excites you. Art, is known, always opens new horizons, it allows us to discover ourselves, immersed in the sea of hope. It is in this manner, that Matilde Mancini, inspired by poetry, the inspiring muse of all arts and the magic that it evokes, allows to be captured by the verses written by Alda Merini to create her masterpieces filled with power and emotions. A synaesthetic pleasure captures and prompts you to enter the gallery to encounter her new sculptures. It is always the matter that bursts into abstract forms and overcomes academicism. The collection of bronze angels, of Licinian inspiration, synthesizes her unceasing research. In presenting her masterpieces of abstract origin, it is of great importance to remember that in Italy the achievement of abstractism in sculpture has been slow and progressive. Many wavered between figurative and abstraction. It was in 1930, with Lucio Fontana’s first show of abstract sculpture that the style of pure abstraction begins. This was followed by Alberto Viani and his more pure abstract forms set by Arp’s example, and later on by Pietro Cascella, Pietro Consagra, Arnaldo and Giò Pomodoro. Ms. Mancini establishes nowadays her presence by creating pieces that “drift” between new trends and tradition. With a forward lunge towards experimentation, she creates sculptures that define an art that is both essential and sociological. She maintains an interest in spirituality and metaphysics; hence, freeing herself from that sense of absolutism that had characterized the formalism of the past. Her thoughts are reflected and materialized in rigid and determined sculptural lines. The “Angels” appear to vibrate and release musical notes like the angels by Paul Klee, but they simultaneously give a sense of tension and anxiety that reminds us of social despair. Exceptionally refined, the angels resemble spiritual and unique iconographies that accompany us in our earthly life and protect us from any harm. They appear like new “totems” of our contemporary period affected by so many evils. The images created for this collection aim to combine natural and cultural phenomena into shapes that convince us of the reality, and almost of the familiarity, of a spiritual world made of anguish and futile hope; that same hope that also Shakespeare writes about.
This reference to reality does not impede the artist to express pain and suffering by depicting faces of women that appear to be masks as a way to cover their real suffering.
The materials used are not limited to bronze. She adopts the use of wood from olive trees to complete the suggestive and unpublished collection from 2013 named “Memories of the woods” (Memorie del bosco). Here we find the piece “I was a bird” (Io ero un uccello), dedicated to Alda Merini, a poetic piece which represents the metamorphosis of the woman-a bird with clipped wings crying for its freedom. Other pieces such as “Nocturnal thought” (Pensiero notturno) or “Silent chant” (Canto silenzioso) bring the observers back to their roots and the rediscovery of the feeling of belonging to a place. These pieces are shaped so to impose their presence by the use of real materials in a real space, where each form fulfils a specific purpose through a sophisticated aesthetic harmony which is elegant and at times disquieting. The artist describes “Memories of the woods” as “a chest filled with ancient memories and atavistic feelings.”
by Carmelita Brunetti