Archive

Interpretation

Info

itaeng

Background home 18b35aab2ec657b431b5029bfe7885e89bce839f64193ae2f150d8a346676d1f

Maria
Morganti

The greyish colour of the sludge that has formed at the bottom of my paintbrush holder over the years.

Arrow home f87616157ebbfcbe79ac40b376b2bcc8b00c5212dd7e36cc60bf8e0ab3103885

An archive of time

I consider this site an integral part of my work, which reflects my obsessive behaviour of accumulating, preserving, keeping a record and putting myself on display, warts and all.
As it is a lucubration, it will change constantly, an open research in constant transformation.


The page we are on shows the SYNTHESIS of what I do. 
Entering via two access points, it is possible to reach the body of work either through an objective classification, consulting the general ARCHIVE of the “Works”, the “Exhibitions” and the “Documents”,
or by trying to find the meaning through two possible INTERPRETATIONS: first my “Self-Portrait”, which is the artist’s self-reflection on her work, followed by Stefano Arienti’s “Guided Tour”, which is an artist’s point of view about another artist.

 




























SYNTHESIS


The body’s contact with the space leaves traces of itself through colour. 

The painting is formed and creates its imprint in the space.
 

My work is about the experience of colour, colour intended as a physical entity, as a trace of life. 

In the work it is existence, which leaves a mark of its passage through the substance-colour.

The form is the result of following a procedure, the process is more important than the form.
 

In my studio the substance-pittura that has formed is stratified, accumulated and arranged in containers, as though I were a tool for recording time.

It is a reality made of colour and emotionality that a form of containment and a structure for presenting it externally are created for.

The painting’s continuity and persistence is how I feel when I deal with my gesture. It is as though spreading the substance on a surface, its sedimentation, were nothing more than adding one action to others that have already been performed or which are about to be performed.

An integral part of my work is also about taking distances from the direct relationship with the substance, thinking, understanding, naming, writing, verbalising and finally archiving that which has been created right in front of me.

What I produce daily in solitude in my studio is subsequently placed in relation to an exterior, to other situations. In attempt to activate a contact between my own interiority and the external shared space.

Due to my desire to connect the inside and the outside, the works are collected, catalogued, described and made accessible inside this space, pushing the process even further in that direction.

 

Ciotola copia 3

The Bowl

Generating

Ciotola copia 3

The Bowl

The palette is reduced to a minimum. The colour is formed in one place only: the bowl. The bowl never empties: it is always alive and wet. It is like keeping a plant alive. There is only one bowl and there are lots of canvases.

 mg 2452 copia 8

Inside of the bowl where the colour is created and transformed every day.

 mg 2452 copia 8

Inside of the bowl where the colour is created and transformed every day.


Every day I head towards it and add a colour. I never use a pure colour, but always start with what I find inside the bowl, dirtying it with something else. The colour is renewed daily, the substance transforms, is consumed and never accumulates.

Cb2cd56d 8d7b 4844 a4d2 256f5c69aa69

“Sedimentation 2014 #15”, Venice, 2014, Oil on canvas, 18 x 16 cm

Sedimenting

Cb2cd56d 8d7b 4844 a4d2 256f5c69aa69

“Sedimentation 2014 #15”, Venice, 2014, Oil on canvas, 18 x 16 cm

One layer on top of the other. The gesture is always the same: spreading fluid substance on a two-dimensional surface until I’ve covered almost all of it, but not completely. The process declares itself: at the top there is a border that recounts the passage of all the colours that have led me to that last layer. Every single layer, every single colour, is already a painting, but nevertheless I continue to sediment and every now and then I linger over a colour. The choice of stopping right there is relative. It is a particular colour, but potentially it could be another. It is allowed to exist, leaving it almost all the space. It takes leave, becomes detached and pauses as though suspended before moving on. Each “Sedimentation” is like the fragment of a painting that develops over time and that is painted infinitely.

Default schermata 2017 09 07 alle 14.29.40 copia

"Sedimentary", Venice, 2003 - (...), 185 x 215 x 105 cm, Metal wood stretchers paintings

Default schermata 2017 09 07 alle 14.29.40 copia

"Sedimentary", Venice, 2003 - (...), 185 x 215 x 105 cm, Metal wood stretchers paintings

The "Sedimentary" is a large object containing the “Sedimentations”, is simultaneously a generator, a trace and a depository.

It is a generator, or workshop, because it is there that the “Sedimentations” are painted; it is there on the wall that the painting takes shape. It is a trace because on that back wall the imprints of paintings are gradually recorded, thus becoming a sort of simulacrum of the pictorial action. It is a depository because it is there, in the space constructed behind the wall, that all of the “Sedimentations” are stored in my studio. In a certain way it becomes a measuring device, one that measures quantity. The capacity of the container determines the substance that time forms little by little. The “Sedimentary” is in a continual state of transformation, like a warehouse which is always being emptied and refilled. It helps me to find the right measure. It should never be left empty, but at the same time it should never be too full. Like a current in which the substance produced ebbs and flows, following a rhythm; it does not accumulate and it goes.

2013 12 31 23.00.00 2 copia

Up corner of the “Infinite painting”, Venice, 2006 – (…), Oil on canvas, 50 x 40 cm

Condensing

2013 12 31 23.00.00 2 copia

Up corner of the “Infinite painting”, Venice, 2006 – (…), Oil on canvas, 50 x 40 cm

Every day since 2006 the same colour that is spread on a canvas and in the diary is also deposited on the "Infinite Painting". Each subsequent layer cancels out the previous colour. The colour is a substance with a certain consistency. Numerous micro layers of paint spread on a two-dimensional surface create a three-dimensional object. The painting thickens and broadens over time. It is a substance that accumulates, that takes up space, that weighs, that clutters. Lots of colours, lots of layers in time go towards constructing a single body, a single substance-colour.

P1000025 copia 2

"Infinite painting" inside his theque Venice, 2006 - (...) Oil on canvas 50 x 40 cm

P1000025 copia 2

"Infinite painting" inside his theque Venice, 2006 - (...) Oil on canvas 50 x 40 cm

The "Infinite Painting", which I have been painting continuously since 2006, began to stratify on a wall in a dark corner of the studio. After a few years when the canvas began to thicken and broaden, to have a certain weight, it was necessary to move it in order to continue working on it, preserve it and perhaps take it out of the studio. And so it was placed in a container "Infinite Painting Theque", that acts as a wall, protection and a transport container. All of it stands on an easel with wheels.

6 copia 3

Detail of some "Diaries", Each Diary: oil on wood, 10 x 100 cm

Gathering

6 copia 3

Detail of some "Diaries", Each Diary: oil on wood, 10 x 100 cm

The colour that is created on a daily basis is kept in the "Diaries". Colours are gathered. Time is collected. Experience is recorded. One colour after the next, one day after the next. It is a piece of painted wood, ten-centimetres high and one-metre long. The first colour covers the entire surface, the second colour starts, leaving 2 centimetres of the first colour visible and so on until the entire surface has been covered in this way. The work ends when the available space finishes. The "Diary" keeps a trace of everything that has been in the bowl and documents approximately three to five months of my time. A diary made of colours rather than words.

Default image

“Diarytheque”, Venice, 2005 – (…), Metal structure (270 x 100 x 45 cm) , containing n. 180 "Diaries", oil on wood, (each "Diary" 10 x 100 cm)

Default image

“Diarytheque”, Venice, 2005 – (…), Metal structure (270 x 100 x 45 cm) , containing n. 180 "Diaries", oil on wood, (each "Diary" 10 x 100 cm)

Once finishes, they are kept in the "Diarytheque". This object becomes a sort of folder, an archive of my time that contains the painted "Diaries" up to the present and those that I still have to paint. I thought about all the time that I have left to live and I have accumulated a quantity of wood that corresponds to that amount of time. At first, the painted part is small and the untouched part is big. Over the years this object gradually fills with colour. It’s as though I have built a space that I will fill with my life. The meaning is not of death, of the end, of closure, but of a physical and temporal space where the normal flow of things is allowed to flow through colour.