G.L.
The Ettore Fico Museum asked the artist to rework the event poster “Dreamers” in a new way. The only constrain to be respected was the format.
Usually applied arts adapt to visual arts, the latter are still considered more important than the first. In this case the opposite happened. Visual arts have adapted to choices previously made by applied arts.
“Silvia Margaria reworks the poster in a dedicated collage that includes botanical references such as real clovers glued, and flowers and leaves drawn using red crayons. The artist adds a face to the existing one, it’s a woman with her eyes closed, she is Meret Oppenheim, sorceress and muse of the Surrealism, the movement born from some Freudian reflections. The woman’s face appears locked in her thoughts, enveloped by the screen of the botanical fragments, like a sort of Ofelia in John Everett Millais’s painting, teasing us to join her in a far, dream-like dimension”.
(Andrea Busto, Ettore Fico Museum director).
collage su lenzuolo in lino con ricamo
200×140 cm.
2016
Selected projects
Silvia Margaria spent three years at the film archive of Cineteca at the National Cinema Museum in Turin, working in the field of inspection and cataloguing films.
This work experience was fundamental in forming her current artistic research: the careful way of approaching the memories and the storytelling identity from the past, and the effort of bringing you to look beyond your own ordinary bustle, they have the intermittence of the case allusions and fragments, the precariousness and fragility. Her working methodology gives importance to dialogue and participation with other visual traces taking into account the relationship between opposites understood as tensions comprising the experience of relationship with the memory of the complexity of the relationship between man and the environment.
Her research is based on a rhythm that makes slowness a method of action, to ensure that attention can be manifested in an open, measured and responsible way.
“Friction, between a nature that reveals itself and at the same time retreats into its most essential part, is the very secret of nature, namely the invisible reason of which the world is its external manifestation. Silvia Margaria’s poetic vision straddles this very point: the artist seeks the imperceptible part of nature and explores its process of appearing with an observational work based on the desire to understand the mystery of life as it runs its course. Her work, in line with what it explores, is configured in the ambiguity of opposites (scattering/concentration – hiding/revealing – searching/finding – one/many – solitude/collectivity – communication/relationship – remembrance/oblivion – resistance/change) in relation to each other rather than in their divergent reciprocation, through the processing of the transitive quality of concepts, so that the consequential motion that characterises the natural flux of things can be drawn from their dialogic link.”