Transformed cascades of threads reveal great creative strength
HER ART DRAWS ON
THE NEW AESTHETICS THAT
USES FABRIC AS AN ARTISTIC MEDIUM
We can call Rosa Spina the artist of metamorphoses, because she is capable of expressing pure emotion through spiritual and mystical interpretative models, thanks to the various techniques and idioms she employs in her new artistic experiments. As the artist of metamorphoses and the weaver of her own space, Rosa Spina focuses her research on weaves and twines, as it is evident in her first dé-filage, a coinage art critic Antonio Falbo invented on the occasion of the exhibition that took place at Rocca Sforzesca in Soncino (Cremona). This is an experimental technique the artist has developed thanks to her collaboration with maestro Mimmo Rotella.
THE TORN AND UNTHREADED PRODUCTS
OF THE LOOM GIVE LIFE TO
A NEW VERSION OF THE “READY-MADE”
The artist of décollage, who had immediately realized the essential role of the removal and tearing of textile materials in the development of a new modern artistic idiom, gave the young artist from Giarre valuable artistic advice, which she welcomed gladly. Rosa Spina did not hesitate to employ her new technique, combining the canvas with pieces and strips of ancient fabrics. Her first experiments with the dé-filage technique date back to 1965, when she experimented, exhibited and received a lot of recognition for her work. Her artistic research soon led her to deal with the art scene of the period and to compare her stylistic choices with those of her most important contemporaries. The expedients and precautions of her new kind of ready made connect her to one of the most influential exponents of relational art, Maria Lai. Her stylistic and formal research, which rests upon the choice of multiple materials, helps create a modern awareness of aesthetics.
HER LARGE FRAYED AND COLOURFUL
WEAVES SPREAD OUT IN SPACE
AND FLOAT GRACEFULLY
Rosa Spina’s canvases and nets, with their large unthreaded weavings, seem to spread beyond space, fluctuating elegantly. Her dense weaves, especially those that hang from the ceiling, and in which lights and shadows coexist harmoniously, have stricken a chord with observers and, more in particular, with the critical acuity of many art experts. Vittorio Sgarbi highlighted the harmonious and innovative quality of her floating works, comparing them to ancient frescoes. His comparison emphasizes the most peculiar features of her technique in a most exhaustive way. This is how the critic describes the effects of his careful observation of the artist’s happening at Cavernago castle (BG): “…Above us there are these cloths that move, there is an abstract attempt to reproduce the decorations on the ceilings of churches and palaces, so there are Tradition, Memory, History and a completely original Taste… Rosa Spina is endowed with strength and fun, she is delighted at being recognized and saying “Yes, it’s me”; also, to play with ambiguity and uncertainty is a way to arouse curiosity… We look at ourselves in Rosa Spina’s conscience and converse with her, in an arrangement that reproduces the labyrinth of her thought. Well, what I feel when I see these works, with their many colours, the artistic research that stands behind them, their skillful decorations and their concentration, is a feeling of contemplative investigation.”
Minotauro Fine Art Gallery
official representative of
Palazzolo sull’Oglio (BS)