Rosanna The expenditure is an artist of Savona, who makes glass and gold and whose works are also exhibited at the Museum of Glass Altar
Gems restless glass seed crystal scratched, pierced by painful desire for transparency wire: the vetrosculture Rosanna The expenditure are aesthetics and ethics, and internal visual pathways. Savona-born but of Sicilian and Venetian origin, began his artistic career in 1974 and over the years has ventured into a variety of techniques such as painting, drawing, ceramics, setting up the meeting with the glass work materializes in its emotional tensions and formalizes the primary elements, air, water, earth, fire. Solutions vibrant images of the installations that accompany the viewer in the oxymorons of harmony and disharmony, reality and illusion, falling and flying.
The glass for the expenditure seems to be archetypal and fossil emerged from the seabed, and the essentials of the original research, which reflects an expectation fragile and tinged by dissonant movements underwater.
Your artistic journey began with the visual arts to then go to glass. It was love at first sight or has been a gradual evolution?
Perhaps one or the other thing. Surely there was a real fascination combined with a strong curiosity was not satisfied immediately, but realized when I felt starting this new artistic path, to be precise in 1994. I discovered my material of choice for excellence.
Some of your works are on display at the Museum of Glass Altare (Savona), what is it?
The works are donated to the Museum of Glass Fusing intrusion with metal, glass, oxides, gold. They are works related to an exhibition entitled The Places of Silence took place prior to Albissola and subsequently presented by the critic Luciano Caprile, in the old museum of glass altar. E 'inspired by a trip to the Gorges of Verdon, because water, the rocks, the memories, the earth, fossils, my favorite themes.
When you started to make glass jewelry and gold?
Initially it was a partnership with a goldsmith in Savona. When I saw my creation tied with a golden thread treated as a wire, which collects and holds a drop of water, the solution hit me, and since then I started to develop small creations suited to be embraced by thin wires' gold.
I imagine that working with glass requires not only creative talent, but also a certain amount of practical and physical strength. What tools and techniques you use and what is the most difficult encounters?
The glass cutting requires technical expertise when you want to get curved elements and for me it was particularly difficult, but a real pleasure to learn. The glass is cut by making an incision with a special cutter firmly holding the wrist. Then with appropriate clamps come off the piece from the plate before the incision is closed. A technique often used for the creation of a work is called "sandwich", ie the superimposition of several layers of glass elements with different shape and size on which you can intervene with pigments, oxides, intrusion metalliche.La merger is between 700 and 800 degrees.
For other ways of working both for the production of monotypes that it also uses multiple forms of semi-refractory clay treated with an insulator that can accommodate the glass element that lies merging towards the properties. These are two simple examples of working, there are many other more elaborate and complex that also require a lot of experimentation.
Think of your artistic career: what is the greatest satisfaction you gained from your work?
As for the rewards associated with creating fused glass works, I must say that the first was born from the clear choice to work mainly with colorless glass, playing with layers con different sizes (both elbow grease) and the use of oxides and oro.Questa choice has enabled me to improve the characteristics of the glass in a refined and elegant while often using the wire as the intrusion of symbolic value in relation to the issues to be I developed.
At the first exhibition of works entitled Glass Stones on Water, at the Marina Club Bonelli Albissola I received the manifestation of esteem Altare some teachers who came to visit the exhibition in the delegation and later became a journalist Elizabeth Manfredi, who was responsible both research and English translations of articles in the magazine then the international High Vitria. The pleasing result was that I was given the cover of the first issue of High Vitra (January 1995) with an article inside Morando.Questo Simon was the official baptism in the world of glass art that honors me still.
I am preparing Islands, an exhibition for the Civic Hospital of Lugano (7 June to 2 August 2011) and attend a number of exhibitions: Creative (Monumental Complex Priamar, Savona, March 4), Pottery of use (Siena, April - May 2011), Artists for mathematics (the competition of the Municipality of Celle Ligure), Review of Ceramics (Mondovi, August 2011).
Website of the artist www.laspesaro.it
(Photo in gallery Danilo Assandri)