Rome, 14 Sept. (Labitalia) – From September 22nd to November 12th at the Gaggenau DesignElementi in Rome, the exhibition “Invisible Flowers” curated by Sabino Maria Frassà and dedicated to the paintings made by the duo Ttozoi with molds that tell the genius loci of the Eternal City will be open. The protagonist is Nature, the greatest artist ever. The exhibition was inaugurated in July with a great performance during which the canvases were prepared with flour and water on which to make the invisible flowers of the Ttozoi bloom.
It happens to stop in amazement to contemplate the intimate beauty of nature, even when it manifests itself impetuously, tragic and even deadly: how not to be hypnotized by the stormy sea? This drama, understood as action and as the life-death ambivalence of nature, is the concept behind “Invisible Flowers”, an exhibition open until November 12, 2021 at the Spazio Gaggenau DesignElementi in Rome, in which the duo Ttozoi exhibits works of art made from organic materials (flours, water and natural pigments), which put us in contact with an extra-ordinary world – molds – elements that we do not normally consider in the environment around us. It is surprising how the artistic duo, originally from Avellino and united by a ten-year bond of friendship, thus create paintings through the use of something – mold – which is usually considered even an enemy of art and synonymous with something gone bad. To achieve this result, the artists have developed a long process that is actually invisible to the eyes of both artists and spectators, strongly influenced and in connection with the environmental conditions that surround it.
“Nature is the greatest artist. The artists are the directors of the work of art, because the true protagonist and painter remains precisely nature, which is imperiously manifested on the canvases in all its inimitable complexity and unrepeatability, -explains the curator Sabino Maria Frassà-. Therefore, although the Ttozoi start from post-war informal art, theirs is a processual art in which the artistic gesture, in an exquisitely maieutic sense, completes and guides nature in self-manifestation: if we think about it we can even say that the paintings largely self-determine and that with them takes place an epiphany of nature. The artists “limit themselves” to determining the conditions so that life can start, flourish and leave traces on the canvases. Man, from being an enemy of nature, for once becomes a humble narrator of its beauty and intimate fragility ”.
Through the use of organic materials (various flours), water and natural pigments on jute canvases, the Ttozoi implement an “Art Area” formed by various installations of sealed display cases, inside which the canvases are placed and left to stay for about 40 days. During this “intervention void”, time and nature do the rest, favoring the conditions for the natural proliferation of molds on the canvas, with ever-different manifestations as conditioned by the specific external variables of the place of execution.
With the opening of “Invisible Flowers”, the Gaggenau DesignElementi of Rome is thus transformed into a creative laboratory, where the canvases started by TTOZOI will mature, during the course of the exhibition, until they are transformed into a real testimony of the place where they were generated. The spores, in fact, interact with the works initiated by the artists, conquering the space granted by them and following a survival instinct, while the Ttozoi monitor the progression of the process and let the canvas capture the humus, the soul – the genius – local.
When they decide to interrupt it, the memory of life remains imprinted on the canvas: the work of art thus takes shape only when the vital process has been completed, and inside the display cases there is the story of a flowering as impetuous as it is now irremediably passed. Only at this point the artists intervene, “digging” in the remains of what remains of this invisible flowering, making its footprints and roots emerge. Of molds – an extraordinary world, which we normally do not consider in the environment around us – remains a testimony that will nourish the future of those who will come after us. After all, as the curator Frassà concludes “always and forever, every new life feeds more or less consciously on the traces of the past, which it assimilates and makes its own, in order to finally be able to flourish in something unpredictable new. This is the magic of art of the Ttozoi: digging into invisibility to bring out the invisible flowers of yesterday, today and tomorrow “.