Lorenzo pulls a spiky coil of Filo out of his battered valise. “This is my own cultural DNA” declare the artist. The Filo, or string, is hand coated with squirts of acrylic paint thickly layered in primary shades of blue, yellow and red, resembling an extraterrestrial form of rosary beads. Since 1977, Pezzatini, a Florentine by birth, has incorporated the indispensable string into his ethereal installations, primarily in United States and Italy.
In the summer 1986, vintner and patron , Antonio Terni, invited Pezzatini to create an installation at his Le Terrazze vineyards outside Ancona (the port city perched on the Adriatic sea). Pezzatini lived on the estate for a month, painting metaphorically charged tryptic in a 150 years old granary building. During this intensive period of work, the artist discovered the owner’s antique carriage that hung its dusty splendor from the exposed rafters. He strung the Filo from the carriage down to a large, two handled copper pot placed strategically in the center of the floor. The blackened pot was filled with freshley gathered grain from the nearby fields. The resulting conception, the merging of the male and the female elements sprung a wanderfully bachanalian metaphor.
At the time of our interview, the artist was fiddling with a mandala-like arrangement of cookie-cutter shapes, a kind of miniature menagerie, on the wall of his sublet studio in the New York’s Lower East Side. His obsession with the pliable material the he unearthed in a hobby store – the trade name is Friendly Plastic – is yet an other textured layer of his fully evolved vocabulary of form. Stepping singerly between the arc-shaped rows of mini-sculpted wildlife and acquatic forms, the artist pointed to the subtle raking of the wall piece and said with triumphant resolve, “I’m thinking of foliage and gravity”. Outside the rafting studio window, a chill wind blow.
from the catalogue “So special , so rare , so wonderful” published for homonym show at the SKC Gallery in Beograd, December 1988
Quando stavo installando il mio lavoro al Palazzo Pretorio di Certaldo andai in un bar per un cappuccino…questo Γ¨ quello che accadde…
When I was installing my piece in the Palazzo Pretorio of Certaldo I went into a bar for a cappuccino…this is what happened…
The Last Painting -Virtual installation project for Piazza della LibertΓ – Firenze VENI VIDI FILO – 2014 – Fiesole showcase – Fondazione Sensus – Florence
VENI VIDI FILO – Filoplaster permanent installation – 2014 – SENSUS Foundation – Florence
VENI VIDI FILO – Filoplaster permanent installation – 2014 – SENSUS Foundation – Florence
Cosmatesca – 2014 – VENI VIDI FILO -Site specific installation Fondazione SENSUS – Florence Cosmatesca – 2014 – VENI VIDI FILO -Site specific installation Fondazione SENSUS – Florence
Cosmatesca (dettaglio)- 2014 – VENI VIDI FILO -Site specific installation Filotape goldleaf mirror water – Fondazione SENSUS – Florence
Cosmatesca – 2014 – VENI VIDI FILO – Site specific installation Fondazione SENSUS – FlorenceInstallation on the facade of SENSUS Foundation building – 2014 Installation on the facade of SENSUS Foundation building – 2014 with patron Claudio Cosma Installation on the facade of SENSUS Foundation building – 2014
VENI VIDI FILO – Fondazione SENSUS Aprile 2014 – Florence BalloFilotondo drawing for the project – 2015 – Baris’Art Festival – Barisardo – Nuoro
BalloFilotondo – 2015 – Baris’Art Festival – Barisardo – Nuoro
WOVEN TEARS – 2019 – Sites pecific installation per MURATE Progetti Arte Contemporanea – FlorenceWOVEN TEARS – 2019 – Sites pecific installation per MURATE Progetti Arte Contemporanea – Florence
Woven Tears – Dettaglio del pavimento
WOVEN TEARS – 2019 – Sites pecific installation per MURATE Progetti Arte Contemporanea – Florence
WOVEN TEARS – LE MURATE – Progetti Arte Contemporanea – 2019 site specific project for the Semioctagon Panopticum of the former prisonsMatrimonio di Agnese Mammana e Lorenzo Bucelli – Pienza – 22 Settembre 2020
Matrimonio Agnese Mammana e Lorenzo Bucelli – Pienza – 22 Settembre 2020