Stefania Ranghieri | Cosmic green Light
Nellimya: light art exhibition is pleased to welcome Stefania Ranghieri’s exhibition Cosmic green Light, in an atmosphere that recalls the living one, always considering the strong poetic presence of nature. Cosmic green Light shows is determination to keep in balance the value of a visual alternation between the silence of an abstract object and the expression shown by an iconic shape revealing itself.
Since a long time, or better all her life, this artist has been exploring the idea of the primary origin of the being, where the light is representing the needful element to create a new substance, the essential energy for the origin of every species of life: “What was the origin of the first tiny particle? My thought is always chained up above or down there – explains Stefania – according to the new theories the light started to spread through the universe at least 13,2 billion years ago, after the so-called Dark Age. The question, still inexplicable is what was really the origin of those minute depressions, of those space-time ripples that constitute the necessary seeds to trigger off the wonder of the gravitational instability. Really fascinating!”
Stefania Ranghieri’s artistic experience is based on the use of simple minimal shapes, passing through between abstract and natural element, taking shape in a work where the light becomes the main protagonist but also its medium. Emphasized by a detailed mounting site specific, in her exhibition all the works become volumes willing to receive and protect other natural elements, like if they were in a crysalis or in a womb amazed in their first procreation. One unicum-space that welcomes and offers bright sculptures originated by the unusual contrast between plexiglas and vegetation. And it’s the vegetation that is utilized as continuous and indissoluble bond with the natural world. Her works are represented suspended in the space floating as satellites (solar disk) where growing plant form are showing their presence and transfer from their own place looking for a new landing place to settle; the other human beings could arrive afterwards! The involucre of every work becomes the confines between the outer natural space and the chosen material, the Plexiglas. This material clearly shows how the connection between the work and its habitat is more symbiotic than real, thanks to a game of lights and transparency reflecting and letting see what is all around. In conclusion they are objects-works, they don’t get a practical purpose, hoping to have a new change for a different life so that they could become an expressive object with its own soul, accepted as regenerating source of reflection, Angela Vettese reveals: “In the society of the electric light we must live knowing more, (she) tells us about deeper things, revealing the epic of time.”
The artist tells in “words on the loose” her creative process: “The dimension I like most is being aware of the contemporary society and try to grasp its sociological, ethical and therefore expressive changes. Being an artist for me is trying to have a completely different vision of the world and place me in a heliocentric intimate reflection. My artistic experience foresees the capacity to keep coherent the emotion for everyday life and a tendency to tuning with the Nature and its system. As in a logical problem, I make an effort to have a synthesis, a summary of my artistic idea and carry out it in a creative object/work that could explain, as recreating the whole in ‘a visual moment’, that has to be the most understandable and clearest possible. I really believe that my work should have this function: to communicate in a visual moment! As an extreme synthesis, able and careful to display to his intricate content, as swift as the mind, that offers the same joy felt when you get a perception and everything is made clear. The visual moment shifts at the same speed of the mind. […] There are two important phases in my creating process: documentation and carrying out. In the first phase I spend most of my time reading, observing, going around the shopping centre, the bookshops, the public gardens, the newsagent, I follow reportages about the geo, eco, scientific discoveries. In very squalid gardening centre, without a logical or detailed order I collect different and various hints about the shapes and the ideas, sketching on small piece of improvised paper and taking them around in my bag even for months or maybe piled up near my personal computer. This phase could take a long time. On the contrary the acting of realizing is easier and quicker; there I solve all the technical aspects of my project because everything is already clear in my mind.”
