REVIEWS

Angelo Pieroni Exhibition Presentation

Earth, Air, Water, Fire…and Woman.
The images presented by Angelo Pieroni in this series of photographs are linked by a female presence.
The elements go through a “visual transformation” into the BODY-WOMAN. The choice of Nude figures indicates an Ideal-Shape which, once in full form, we can see coming into contact with the Elements.
In mimetic harmony with the stone, the body sometimes curls up and lies down on the sand.
The feminine form interprets the spaces; it communicates through gestures; it makes its own language.
The seeds of an earthly meeting, undulating and smooth in the water, oxidising in combustion, suspended spherical phrase in the air.
This interaction alludes to features embodied in the gestating repose of the Earth, in the nautical flow of Water, in the passionate-dance of Flame, in the absolute blue of Air.

WATER, EARTH, FIRE, AIR.
Woman is not a mermaid, nor a mother, nor a witch, nor a celestial virgin.
The WOMAN that Angelo Pieroni presents is always newborn or about to be born.
She has no history, but she accomplishes the act itself of appearing, a complex and acquired action.
And also a primary element, irreducible form?
Or a background, a backdrop in which complex transparencies adjust?
A landscape where the Elements try a fleeting life, changing?
Between the subject of woman and the object-element there is a reciprocal penetration marked by continuous
Cross-references. The WOMAN-ECHO.
The images Pieroni has developed have a light and a colour that are reminiscent of the objectifying, observant eye of a naturalist.
The colours spread over the images like a “reaction”.
Substance-colour allowing us to see a change in progress that has not yet come to light.
This unborn Woman is not held by the earth’s gravity, she has no weight.
She sleeps, swims, dances, but she does not watch.
We see her in a dimension that we can gain access to by using a viewfinder or a telescope. A system of lenses that allows us to see things we would otherwise not be able to see with the naked eye.
The place in which this Woman is growing is a Pre-world that is elaborating on its Genesis.
In this alchemy of Elements including Flight, Stillness, Passion and Swimming, the anatomical profile disappears to reveal a way to overcome stereotypes.

Prof. Miguel Fabruccini
Trompe l’Oeil's teacher and Painter

From ancient ages we have received testimonies of archaic goddesses whose symbolism alludes to the great mother earth, bearer of life and governor of nature with mysterious allusions to fertility rites that always surround it. By syncretism of archaic sculptures depicting the Great Mother with her sexual attributes essential for the reproduction of life without characterizing the face to stigmatize the essential function.
The provocative female nudity is used by Angelo Pieroni to give life to his images processed with a particular technique, in which she appears as one with the natural surroundings in a symbiotic completeness element among the elements that she herself governs and leads to a concept of harmony than annulling the same physical laws of nature. The model's naked body surrenders to the embrace of the earth camouflaging her body with the amber color of the rocks, and how not to remember the primordial giant nymphs that emerge from the walls of the Great Grotto by Bernardo Buontalenti in the Boboli Gardens, covered with stalactites and immersed in an endless sleep? between the woman and the four primary elements: earth, fire, air, water, Angelo Pieroni part interview infinite in space and time in a dialectical gesture of great effect with the female nude that reflects the fiery red of the fire, the ocher earth, the infinite variations of blue and blue green aquamarine water and air.
Angel found in the images of quotations of our Renaissance artists, in developing his compositions for the woman we think of the water that comes from Venus by Sandro Botticelli foam of the sea which has around him the symbols of air, the two representations female goddess of the winds that propel the shell naked in toward the shore grass and flowers.
The silence, the absence of gravity, lack of communication with the outside world, leaving the body to the flow limit of time and only in communication with the element that contains it, the embrace of the earth, the color of passion fire The lightness of the air bubble, the freshness of sparkling water, this is the message we send these images of extraordinary evocation, declaration of a metamorphosis in the making of the female figure in its nakedness creates harmonious interpenetration of the matter the body, and the primary elements.

Dr. Maria Litta Medri
Director of Friends of the Boboli Gardens,
already director of the Boboli Gardens (Florence)

... If the purpose of staff wanted to be to show the close synergy between the feminine, whether in its "metastrutturale" in that physical-organic and natural elements, this is certainly more work explicit, representative and successful.
The perfect symmetry between the feminine body and wave, mixed with digital overexposure, shows more than a nexus of action / reaction (the woman invested wave), a bond of identity (woman E 'wave) and in this symmetry is realized an essential component of the characterization of female sensuality.
Although traditionally feminine sensuality is linked to the concept of heat, fire, and "passion", the passion that blazes burning everything in its path belongs to the universe more male than female, and is projected onto the first second.
The female sensuality that is much like water to fire. As the waves caressing the female body fragmentation of the beach, giving individuals, scattered grains of sand and untied a unique reason for coexistence: the shoreline
As the waves feminine sensuality is delicate, sweet, rhythm in space and time and passion as water may destroy what women against whom descends: gently, slowly, rhythmically, but with the power of the ocean forge continents.
That's basically the difference between the traditional image of 'eros female seen as flame burn and destroy and that evoked by this picture, an eros that can envelop and embrace an entire continent, sculpt the coastline and cliffs, the cliffs and the shoreline with the same tenacity with which Michelangelo said to "remove the most" from the rough stone brings out the beauty of strength.
And in the embrace of the sensual woman we men find the beauty of love, eros, sex and passion. Point of generating not only new life as a tradition rooted perhaps too wanted to send limiting female sexuality to the role of 'fertile bed for new life. " A beauty that creates a new spiritual life, especially when man, overcome by the wave of devastating embrace, lost "most" of feral aggression back to ancient times and finds his beauty, his emotions, his ability crying and emotions forget .........

Dr. Christian Ronga