Apollo, 1980
sanguigna - canvas, installation |
In order to skim in the artful handiworks of Ettore Consolazione, one could say it should be waited that the curtain rises. The handiworks of Ettore Consolazine is in fact organized in such a way precisely staged, as an exhibition of significant elements decorated and inserted in a framework that reflects a fence selected in a space art. Ettore Consolazione is always very kin to the environment.
On the handiworks of Ettore Consolazione, Vittorio del Gercio has once commented: “The installation of Ettore Consolazione appears with decisive and significant distance from different experience that was adopted in the era of the common arts. In his handiworks, there a clear choice of the material which essentially marked by a physic-anthropologic connotations … which Consolazione focused on and exalted the strong instruments of the art..” Thus, the enlargement of the handiworks in the environment does not mean the escaping of the art to an exterior space, but on the contrary, the assimilation of all surrounding elements. Another constant element in the production of Consolazione’ art is the focus on the value of the crafts. Ettore Consolazione constructs with his own hand his little universe, in which every element which appears in the stage is properly packaged and not removed from reality.
At the beginning Attire Consolazione, works on the concept of sound. Square concrete blocks are placed one on the top of the other, but their minimum, simple and serial function is contradicted by the sound that comes out from the concrete blocks, nearly transforming into a living organism. Then the windsocks sound of the Festival of Como, with ephemeral, soft artifacts that propagates through the sound. A crucial art work of Consolazione’s “Il Sogno di Costantino. Originally, a citation from the masterpiece of Piero della Francesca, one of the most famous clubs of the history of arts. Consolazione extrapolates some main elements of the art work of di Pier and handicrafts them with filled in canvass that bring us to the canvass’s image of the bed sheet that refers back to sleep dense with premonitions of Constantino. But the canvass the canvass again refers back to the traditional support of the painting without ignoring the mart materials. Consolazione uses painting materials to make sculpture objects and the juice of his operations is in fact in this linguistic inversion. The reversibility is a criterion – that guides under another aspect: the sculpture contradicts itself presentation softly. Oldenburg has already shown that this glamorous oxymoron presenting it to us the mobile sinks and the hard ice. |
carta 3410, 2000
wood and paper
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But Ettore Consolazione does not use technological materials, but domestic ones conferring to its fabric the consistence of the padding. The scene is organized, thus, as a framework of which images are metaphysically helpless and indicated: the tents, the armor that are extracted from fresco of Piero are exactly the element which in that handiwork were enhancing by the reflection of the light.
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