maria Bentivenga
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I am attracted by the solidity of rock surfaces and their ability to narrate the passing of time, the wind blowing, the rain falling, and lastly man’s passage, through the sequence of geological eras, each traced and scarred in a different way.
Places are the fruit of a syncretism between nature, the sacred, the profane and devotional practices. The connection between man and territory has always been a symbiotic relationship and at the same time a struggle in which each side attempts to overcome the other in a relentless process.
My latest projects are rooted in the will to investigate landscape and geological transformations, as well as the relationship between man, territory and landscape. I work by collecting small notes, marks, scrawls: the trace of places, from which I recreate visual experience into vertical landscapes, epicentric vertigo.
It is slow, non-linear work. I am attracted by objects and elements that I gather and investigate, draw, notate and archive: I may then set them aside and resume my journey in a different direction; as happens in geological sedimentation, after an earthquake, findings will suddenly resurface and magically take their place in the story.
The same process implies and includes the need to cut into the surface of the metal plate, my opponent in a test of strength, my fellow traveller on the adventure by which the sign carries through to the paper.
My elective technique is the etching, often integrated by other engraving techniques or by direct intervention on the prints. I work with large formats, engaging in a close, intimate relationship with the sign and with the metal plate, where the symbiosis of sign and metal becomes a unique expressive bond allowing the final transfer of these energies to the paper.
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I am attracted by the solidity of rock surfaces and their ability to narrate the passing of time, the wind blowing, the rain falling, and lastly man’s passage, through the sequence of geological eras, each traced and scarred in a different way.
Places are the fruit of a syncretism between nature, the sacred, the profane and devotional practices. The connection between man and territory has always been a symbiotic relationship and at the same time a struggle in which each side attempts to overcome the other in a relentless process.
My latest projects are rooted in the will to investigate landscape and geological transformations, as well as the relationship between man, territory and landscape. I work by collecting small notes, marks, scrawls: the trace of places, from which I recreate visual experience into vertical landscapes, epicentric vertigo.
It is slow, non-linear work. I am attracted by objects and elements that I gather and investigate, draw, notate and archive: I may then set them aside and resume my journey in a different direction; as happens in geological sedimentation, after an earthquake, findings will suddenly resurface and magically take their place in the story.
The same process implies and includes the need to cut into the surface of the metal plate, my opponent in a test of strength, my fellow traveller on the adventure by which the sign carries through to the paper.
My elective technique is the etching, often integrated by other engraving techniques or by direct intervention on the prints. I work with large formats, engaging in a close, intimate relationship with the sign and with the metal plate, where the symbiosis of sign and metal becomes a unique expressive bond allowing the final transfer of these energies to the paper.
I am attracted by the solidity of rock surfaces and their ability to narrate the passing of time, the wind blowing, the rain falling, and lastly man’s passage, through the sequence of geological eras, each traced and scarred in a different way.
Places are the fruit of a syncretism between nature, the sacred, the profane and devotional practices. The connection between man and territory has always been a symbiotic relationship and at the same time a struggle in which each side attempts to overcome the other in a relentless process.
My latest projects are rooted in the will to investigate landscape and geological transformations, as well as the relationship between man, territory and landscape. I work by collecting small notes, marks, scrawls: the trace of places, from which I recreate visual experience into vertical landscapes, epicentric vertigo.
It is slow, non-linear work. I am attracted by objects and elements that I gather and investigate, draw, notate and archive: I may then set them aside and resume my journey in a different direction; as happens in geological sedimentation, after an earthquake, findings will suddenly resurface and magically take their place in the story.
The same process implies and includes the need to cut into the surface of the metal plate, my opponent in a test of strength, my fellow traveller on the adventure by which the sign carries through to the paper.
My elective technique is the etching, often integrated by other engraving techniques or by direct intervention on the prints. I work with large formats, engaging in a close, intimate relationship with the sign and with the metal plate, where the symbiosis of sign and metal becomes a unique expressive bond allowing the final transfer of these energies to the paper.
