Casella di testo: Casella di testo:

Mute silences leaning over us, 1998

statuary marble, 68x41x45 cm

Tia Private collection , Denver

The birth of Eros, 1998

gipsum, 60x102x34 cm

Waiting, 1993
gypsum, 70x40x25 cm

Knots (detail), 2007
statuary marble, wrought iron nodes and iron frame, 56x20x21cm

HAND SON THE BODY

The sculptress Elena Mutinelli has a special, urgent need to rediscover ‘hands’ that are able to feel again and give back the rights of the body, so as to discover the body

as the centre of the existential experience, as a way of knowing and showing the qualities of a person. She goes against the trend or perhaps it is better to say that she anticipates a condition of nostalgia of the body that many young artists begin to claim in paiting and sculpture, reacting against the culture of telematics, against the poor and conceptual art, intellectualism and the virtuality of experiences. The vigorous moulding, substantially expressionist, but with initial inspiration by Rodin and quotations Kollwitz, with special emphasis on hands ad feet as extreme parts of the body and, therefore points of articulated relation, contact and com- munication with other bodies and with material and space, make her handling of sculpture explicity a place for rediscovery and study, echoing and expressing the body. The recent cycle of her works inspired by the figures of the mad people visited in a asylum and observer during their bath, becomes emblematic of a corporality highlighted by the pathology, that often has an extreme effect on the sensations, as the body is felt as sole point of ‘reference’ of pleasure/pain and, in this way, the only means of expression/communication towards the inner part (space of conscience) as well as to the outside world (space of relation).

The hands assume plastic dimensions of notable evidence, not only urning the consolidation of the direct sensation and the contact with the shape, the design, the temperature, the reactivity of the body, but also with the re-emerging of the memory of the sensitive knowledge, going through the body, of relationships, confidence with the structure and the physical and psychical space. In my opinion, Elena Mutinelli is interested in this rediscovery and this affirmation of the central character of the body and sensibility of the existential experience, as well as a necessary return of the esthetical capacity (in the very elementary meaning of sensibiity) of the person , as well as recomposing a reason for the art and the skill of the person, as well as recomposing a reason for the art and the skill of the art that rejects the illusoriness, that is more and more invaded by the virtual imput (images, knowledge, culture, behaviour) and reacts coldly, with povery and conceptually against the impotence of the poetic world.

Elena Mutinelli demands a rekindling of the senses, so that hands rediscovery the ‘lost steps’ (we refer to the sculpture Su i nostri passi), that touch redefines the limits and shapes of the body, thus renewing all possible relationships with other bodies and physical and psychical outer and inner space (Amanti, Pellegrinaggio di una pazza, Mani sul dorso).

A careful research on the body made in moulding, accompanied  ad supported by anintense graphic process achieved by the preparation and special laying out, with lead on paper, allowing the senser to expand on their outline, finding more spacious times and means during the modelling of a drawing as a project. It is through this project that she expresses an intimate resentment and vibration of intangible material, which on a two-dimensional level of the sheet already tends to build up a volume, tendons, and flesh at the same time it gives back memory, evocation of the lost impressions, pressure towards an esthetical -way of sensibility, projecting the image of the proper sensibility- that is already lost or only under aberrant conditions.

With courage the young sculptress goes back to “live inside the body” and she gives it back big hands in order to feel and act, recognise and remodel herself.

 

Giorgio Segato

 

 

©.  STUDIOMARTE

Foto Antonio Piccin

Grafica Stdmarte

Traduzioni Roberta Mazzesi

 

 

LE OPERE SCULTOREE DI ELENA MUTINELLI SONO  ESEGUITE A MANO SENZA MEDIAZIONE ALCUNA DI ARTIGIANI E MACCHINE

The sculptural production of Elena Mutinelli is hand made without any artisan's or machinery's help.

 

Nessuna delle immagini può essere riprodotta o trasmessa in qualsiasi forma o qualsiasi mezzo elettronico, meccanico o altro senza l’autorizzazione scritta di Elena Mutinelli, proprietaria dei diritti dell’immagine.

No image of this book may be reproduced  or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage end retrieval system, without permition in wring from Elena Mutinelli, owner of  the images copyright.

       sculptress

Fotografia di Francesco Cammello

  Elena   Mutinelli

Confronto, 1992
statuary marble, 21x20x30 cm, 22x23x33cm COLLEZIONE PRIVATA