APALAZZOGALLERY

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Via Meravigli 2/4
20121 Milano

MON-SUN 11.00-19.00

ARTISTS: 
Marta Pierobon
Alberto Savinio (Collezione Ramo)

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Marta Pierobon answers questions from
Irina Zucca Alessandrelli, curator of Collezione Ramo

What does drawing mean to you?
For me, drawing is a place; where everything is possible, achievable, real. It is the widest space that exists, wider than the mind itself. It is a refuge. It is the beginning of all thoughts and all forms. The very fact that paper is such a light material allows me to carry it anywhere, and as a result, it becomes a constant gateway for all ideas.

What materials, techniques, and creative processes do you use when working on paper?
Over the years I have worked with different media, and I generally tend to mix various techniques. I think of paper as matter. The techniques I prefer are watercolor, ink, colored pencils, markers, and collage. The choice of paper changes each time depending on the work, the project, the size, and the ideas.

Why did you choose this work from Collezione Ramo?
Alberto Savinio is one of the 20th-century artists who has most influenced my research, connected to his own time yet projected toward a future that has not yet arrived and perhaps never will. There are two fundamental aspects of his work that deeply shaped me: the narrative element and the part linked to the play of possibilities, where nothing is ever just one thing, but—as for children—things constantly transform, becoming something other than themselves. Savinio is an ocean of possibilities and combinations. The serious play of someone who observes the world without losing sight of the unexpected. So when I had to select a work to relate to, I had no doubt; I would choose him. An honor and an opportunity.

What value does dialogue with the Masters of the 20th century have for you?
In one word, I would say indispensable. I clearly perceive myself as an artist straddling two centuries, nourished both by the avant-garde and by the traditions of the 20th century. Beyond this, the media I prefer are closely tied to 20th-century artistic practices: drawing, ceramics, and sculpture in the traditional sense. I trained in painting at the Academy in Florence in the early 2000s, in an environment strongly bound to tradition. The Masters of the 20th century were part of my education and continue to remain mysteries yet to be revealed. For me, they are still one of the deepest sources I draw from when I think about new works, new techniques, new visions. I regularly visit exhibitions of 20th-century artists, and the more the years pass, the more I am inspired and moved by the Masters who, during the 20th century, radically transformed what was understood as art until then. As far as I’m concerned, the 20th century is still here.