SOLID is a site-specific installation that adapts and dialogs each time with the environment in which it is hosted. It is a multiple sculpture that can be composed of a variable number of individual elements (white cubes) and can be installed directly on the floor (where the surface and colour of the floor is suitable) or alternatively on rectangular white bases. Each cube measures 5x5 cm; the heights are different, from which elements are included (butterflies, branches, beetles, seeds, shells, dried flowers, etc...).
The still life, arid with water and life, becomes close to the dense body of minerals: the process of decomposition and disintegration of matter seems to have disappeared.
Plant and animal elements are suspended in an eternal moment, retained and sealed in an attempt to establish a balance between the ephemeral nature of the organic body and the solidity of the inorganic form: these are still lifes where fragility and solidity play with their own matter and where time seems to have lost its right to corruption.
A critical text by Kevin Mc Manus on the work follows:
The idea of sculpture as a medium between the artist and the world is updated on the basis of mental states and modes of relationship typical of the contemporary world, above all, the impulse to classification, cataloguing, to an obsessive and methodical collection. The formal grid that constitutes the plan of this work puts back in vogue the surrealist taste for mixing modernist and natural or objective abstraction, but it does so in an installation dimension that puts the categories in crisis for the observer. The asymmetrical and corporeal perfection of nature coexists with the aseptic geometric grid; the function of each other of the natural element, made of meat, fibres, cells traversed by life and death, comes to a halt at the level of pure cataloguing.
A contrast between hot and cold that reinterprets the sculpture as a user experience on their own skin.
The Wunderkammer certainly come to mind as much as they did in the 16th century while, on the other hand, the ambitions of the company classification of the natural world more typical of the 18th century environment. And yet it is precisely the incisiveness of the contrast between the abstract and the concrete, the ideal and the material projects, the abstract and the concrete, the ideal and the material.
Alice Padovani's collection at another level, that of contemporary archival exasperation in which counting is the very act of deposit, rather than the necessity to know and protect what is in the files. An impulse that the artist redeems through a staging in which rational rigour and baroque taste are challenged to each other.