Antonella Cimatti was born in Faenza and studied ceramics under Carlo Zauli at the Istituto d’Arte (State School of Ceramics) in Faenza, where she has been teaching Design since 1979. She has worked all over the world, including Portsmouth, England, where she participated in the Artist Fellowship Exchange, European Communities programme in 1991. In 2013 she was artist in residence in Fuping FULE, China, where she made an installation for the Museum. She has won many international awards including the Silver Prize at the 2007 Korea International Biennale and is member of World Crafts Council Europe. She works with porcelain paper clay.
“My way of working is not traditional. My objective is to create a lightness in ceramics- not only regarding weight but also visually.
My design is born from a rereading of past artistic production through a filter of formal personal sensibility directed towards the making of a functional or sculptural object. The forms generated are aesthetically accurate and display a strong sense of the real feminine character, of grace, of elegance and of attention to detail.
Thus, “Crespines”, objects originally of Faentina tradition that were used in the grand European courts of the 16th and 17th centuries, have been remade in porcelain paper clay for a collection which began in 2005.
It was challenging and exciting to create forms derivative of the past, but reconsidered with completely new techniques and philosophies.
These pieces have been formed using an incredibly thin decorative weft that ultimately creates their supporting structure: it’s an art of addition, not of subtraction, as was commonly done in the original renaissance crespines, where the perforations were created by piercing and cutting out shapes from the existing closed forms.
The process involves creating freehand forms with a syringe on concave or convex refractory supports and requires a high temperature firing.
In my last installations, life and existence are given to the shadows. The butterflies which are created on the wall are born of a combination of one porcelain wing and the other which is created only virtually by it’s own shadow. In this way, the expressive and metamorphic world of the shadows are so evident. One part of the work is real while the other is temporary because the shadows are ephemeral and elusive.”
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