Serena Vestrucci. I draw a den where to be animals

La Fenice Gallery is pleased to present the first solo show by Serena Vestrucci in Venice.
I draw a den where to be animals is the title of the intervention designed specifically for the exhibition space, a whole single body of new works.
The principle of investigation becomes an expression and manifestation of the path between the role of the artist and the work as a final product, a consequence of the idea and the structure of its realization.
Getting rid of the object expands the story of meaning, in the will that the artistic project remains visible in the proposal, so in ‘show’. The shape as natural process.
Inventing systems that choose at our place because they are able to be independent determinates also the choice of the material and the form of operating as an extension of the artwork itself.
The structure appears so central in the relationship that the individual elements establish between them. It becomes evident the necessary willingness for a reflection: when a vision is produced the same things hitherto observed appear transformed. Everything is developed with both intuition and through rational thought. The attitude of the artist never became work in so direct way.
So Nani da giardino is a family of seven sculptures, each realized in different materials, from paper to play-doh, from plastic to fabric. Trucco are two canvas rigged with eyeshadows and blushers.
Both works occupy space and are not fully visible, one partially closes the entrance and needs to be observed with more passages, while it prevents the access to the fruition of the other, that you can spy only through a slit.
The installation of the exhibition creates a drawing of an imaginary den in which it is declared the inability of the works to be watched, their impossibility to give themselves completely in a single moment, in an attempt to prevent their own display. They are situations, like the artists says, where simply make something happen, but if until now the media made an objective reality stratifying the image, the intervention of Serena reverses the role, highlighting the working of its plot.
The question posed by a minimum transition, triggers, without predicting the result of a life potentially without an end: a design that moves, to move.

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