Galleria Paola Verrengia, Salerno
For VOLTA14 Galleria Paola Verrengia presents a selection of three gallery artists: Amparo Sard, Maria Elisabetta Novello, and Kaori Miyayama. The Gallery would like to present an exhibition with these artists of the same generation but from different countries which despite working with different techniques and materials create works in dialogue conceptually.
Amparo Sard (Palma de Mallorca,1973) is one of the most influential Spanish artists in the contemporary art scene. In her artistic research, focused on the theme of identity, she uses various languages – drawing, photography, installation, video and lately sculpture – that allow her to investigate the complex existential dynamics that affect human relationships. She has become renowned thanks to the peculiar technique of needle piercing on paper. She works on sheets of white paper with a thin needle in order to draw shapes and volumes, creating a chiaroscuro effect that emerges as a low relief from the surface. Sard composes her images in a very poetic, patient and obsessive way, bringing to life papers in which beauty, fragility, perfection and anxiety live together.
The pierced surface loses its consistency and becomes fragile, such as the human being when he faces his intimate fears or when he has to deal with the consequences of his actions. The new fiberglass pieces appear as artificial extensions of a natural body: its severed limbs particularly provoke a sense of angst and play with the ambiguity of lifeless objects.
Maria Elisabetta Novello (Vicenza,1974) is the artist of the constant relationship with the frailness of the contemporary age. Her works are nourished by overlaps and transformations arising from a reconsideration of what has already occurred. Novello readapts used dust obtained from the combustion of wood — the ultimate remains of the past — manipulated to create shapes, new presences, traces of memory and transforms it into something else. The dust she uses is important because it is represents the essence of the work, although it is anticipated by thought and is a responsible action translated to real life. She is considered one of the most interesting and talented Italian artists of her generation.
Kaori Miyayama (Tokyo,1975) uses different media such as painting, photography, books and installation, blends traditional and contemporary Japanese and European techniques. Drawing on oriental culture, she often uses organza silk fabrics with embroidery and connecting threads, designed to create maps and inner paths. In addition, she avoids presenting her practices viewed only from a fixed perspective. It almost seems as if she keeps definite punctuation evaded mellifluously while holding back affirmation.
Its hand-printed and hand-woven fabrics, which let themselves be lightly moved by the air, and change with natural light, display a correlation between space, time and spectators, between different cultures and traditions. Her works give shape — embroidery on silk, photos, etc. — to territory in between (East and West), a place of suspension where Kaori shines her light between Here and There, with no limits.