Maionese
		enpleinair
		Crop
		Ambrosi
		works

LAURA AMBROSI "SHADOWLAND"  of Tiziana Conti A shadowland, desolate, where man has become a frail presence, where comunication is silent or even worse, it is reduced to a linear information. This worrying image reveals a humanity subdued by anxiety, by a painful denial of life, in a temporal dimension that, as Ingeborg Bachman asserts, it is now "postponed", it is granted, but can continually be "recalled". The reflection on the loss of a existential horizon constitutes the thematic nucleus on which Laura Ambrosi moves from the very beginning. Her acrylics on wood, her charcoals, her red crayon drawings always turn to the main idea of the human being's moving towards the centre of the earth, metonomy of the enigma, of the unfathomable abyss of the soul. The fact that the being is asexual underlines the loss of identity, his reduction to a body oppressed by his own burden, a closed shape, an abstract involucre which does not reflect armony, rather it characterizes the ontology of the emptiness.

For that reason the co-ordinates of the man-icon are the enstrangement and the absence, they are exemplified through figures that are exactly alike, imprisoned in the elementary of their own structure. Taking body from such preliminary remarks the Installagmiti, sculptures in alveolar polycarbonated, shapes "plunged" partly in the ground, curved, curled up on themselves, to the fervish search of a possible placing. Seen from above, they seem freezed puppet in an omnivorous enviroment in which they "spend" without beeing able to leave a durable trace. From this imploded situation, the search subsequently spreads over a wider semanthic sphere, in reply to the necessity of a semanthic trial which makes concrete the qualitative whole that pervades the reality. The enlargement of the speech allows to surpass the ontological closing, establishing a relationship between man and "object". The speech is as easy as effective. The every day in which we are plunged is populated by a variety of banal, ordinary objects, often unnecessary and redundant.

They mark the existence, underlining a hiatus: the impossibility to conform the language to the thing so that, often the object reveals itself to be a simulacre. Then, it is worth trying to turn it into a different reality The absence that characterized the human individuality can become an evocative presence in the object, establishing a relationship of reciprocity. In this sense, the object for Laura Ambrosi becomes an emblem that finds its "raison d'etre" thanks to the language mixtures of sculpture and installation. They so integrate themselves that they trespass on the design ambit explainable in the sense indicated by Max Bense, as a meeting place between nesessity of functions and aesthetics innovation. The first consequence is the upsetting of the observable predicates, which pertains the attitude to configure the work as a polymorphus all with a strong pragmatic consistence.
The artist "feels" the "forming" capacity of the object to capture situations and she expresses it through connections that primarely make reference to the polarity inner-external. The "lighthanger" born and they disclose the brightness as catalyst element that is related to the colour and the space, able to restore the trasparent reality to itself, materializing the tie between concept and perception. But the "lighthanger" also assumes another meaning: in fact it recalls the memory of a garment, opening a talk that finds its topic in the oxymoron illusion-essence. The look has the worry to radiograph an enigmatic complexity. The project of the exhibition connects all these elements. In the central space of the gallery two icons face each other: a trasparent raincoat endowed with light buttons and a black evening dress. Between the funereal and the liquid trasparency it is established a dialectic relationship stretched on paradox thread. In fact, black is ransomed by the typology of the garments, conceived for an "official" situation, as well as, in its turn, the perspicuity of the raincoat struggles with the leaden humor of the rain.      On the contrary, the element of the ossessive repeat is revealed by the oil paintings that reproduce shapes of coathanger, vertically arranged, so as to suggest the idea of mass-production. The figurative sense becomes even more evident in the installation of the hanged out washings, that confirms the importance of a tie of contiguity between inner and external. The static disposition of the clothes is only apparent. In fact, to take care, they offer an intense split of real life, revealing their belongings to the custom, to the inner and meaningful moments of Laura Ambrosi's life. They are fragments of a everyday life that cease to be banal when they "put" themselves as a lively presence or as emblematic evdences of the memory.
	In this case, the garment is not an individual's succedaneaus, neither an involucre.It suggests a deep reflection on the contrast between what it is ascribed to a completely exterior fetish dimension and what on the contrary is integrant and constitutive part of the experience. It leads us to questions on the sclerosis that results from the loss of individuality.      Then the work recovers and filters the life: it is an hypothesis that contributes to emancipate a reality parallel to that physical, materializing the fluidity of the becoming. The reification does not exasperate the absence; rather the object claims the man's presence as the only possibility to struggle with the illusory intrution in which the interval between man and object becomes a dull noise, mere information. Laura Ambrosi's object comes into the life, as if it wanted to rule through the metaphor of the absence, the hyperreal simulacres. Tiziana Conti
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