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Senza titolo

Author: Maurizio Vetrugno

Anno:   

Gallery: Collezione privata   
Materiali: ,

Senza titolo is an installation made of three hand-dyed linen curtains, detailed down to the smallest details, whose symbolism is linked to the medieval bestiary.

The triptych consists in three normal tends used to obscure the windows, which tell a story imagined to entertain those people who are waiting at the window for someone to arrive, a narrative that covers the idea of expectation. The linen curtains were hand-dyed by the artist, and each carries a symbolism related to the medieval iconography.

The work is quite hard, as it includes a first step of dyeing and craftsmanship, it then need a traditional print that has ancient origins and is no longer used. This is the press to mangle with rust, an old printing method from the Romagna region, for which the artist has one of the few reference contacts to find the correct fabrics to work on.

Finally the artist wrote with a brush – freehand – four short stories, three of these are quotes from China and one is an unknown Vetrugno. Each of these tents is fixed to a stick which is previously coated with vintage scarves.

Excerpts from the technical interview to Maurizio Vetrugno:

“I thought the link between two historical references, craftsmanship and a centuries-old artistic production, was an interesting idea to be developed in a modern way. The medieval bestiary are fascinating objects, full of references also ironic, extremely interesting.”

“The approach to the restoration of an artwork always depends on the artist, the value which gives the passage of time and the meaning of the artwork. If I can I also keep the rusted screw, however, there are cases that are more difficult pieces only ones on which you can not take action by replacing components and you have to think on the whole. […] The tent’s stick is the most difficult item to find, because it is an industrial material, hard to find equals to something bought twenty years ago.”

“Knowledge of materials is an important step for me. Of course, if an artwork is essentially conceptual it might get lost in its physicality or it can be replicable as that project”

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