Biography

MILVA Pierotti - PRESENTATION
Biography

Milva Pierotti was born in Tuscany in Fivizzano (MS) where he lives and works in his studio.
Graduate of the Liceo Artistico Carrara, he attended the School of Architecture at the University of Florence.
Since it was immersed in painting through continuous experimentation of new techniques, new colors and materials, supplies integrated textile textures and objects trouvés.
With its unique conceptual expression - visionary produced in forty years of work large number of works where he appreciates the integration of media, the depth of issues, the scenic native talent and powerful personality of the tonal range.
He has exhibited in many personal leading European Fairs and Italians, with confirmation of the growing criticism of public and media.
Milva Pierotti - Via Provinciale, 8 - Ceserano - 54010 Fivizzano (MS) - 338 9559500 - milvapierotti@tiscali.it
Note critical

The networks Pierotti
<<In this series of color and textures work textile interact to a revelation of the connections that bind macrocosm and interior space.
In different times creative, always between conceptual and visionary - the energies of reticular structures evoke the colors through flashes, depth, glimpse of scenarios.
As a stringed musical instrument to make Visual vibrare apparent enticements of Overnights, storms, beaches. ramure in the wind, magma stellar, and archetypal ultrasensoriali signals, inherent in the universe and of religion, atmospheres epoch.
The term sometimes raises conceptual ambiguous plastic forms, imbued with flashes auroral or Nordic migrants from all'oggettività virtuality.
It is no coincidence the first major exhibition of these works in Italy under the title "The plots Ermione" (the Versiliana1999 di Pietrasanta, dedicated to the'900 and D'Annunzio) received, for its suggestions epoch, the live praise of Vittorio Sgarbi .
The recycling structural-functional dell'objet Found, certainly not nostalgic-minimalist, here becomes an act of choice inherent expressive. Nell'atelier of Pierotti, including networks, textures, textile, fabrics, leathers and plastics - produced and rendered in color and in treatments with granulature, chalk, pigments base - the elements of recycling blend in as an artistic project of the emotional charge. >>
(Fabio Tedeschi - 2006)




Pierotti: artistic path Solid Dreams: between color and tactile sense
<<In this series of works on color and fabrics plastically consolidated (often from recycling)
Sink or out as jets, folds, knots and curtains, accounting and interpenetrate the bottom of the canvas, sometimes up to engage in 'evidence of' work also chassis parts inside. Structures and colors mark the apparent calm of an unexploded bomb, kept pace, and cross penetrated by conturbanti appearances forms of plastic treated with chiaroscuro and essential frottages between painting and tactile sense. Everything gives the impression of atonal music: time stops in a dormiveglia marked by relief among the clarion key areas of color, or almost - monochrome of bronze, gray auroral, the banks Scandinavian: a mix that has all Pierotti 'Attention and criticism of the European public.
By setting strong plastic was the proposal to expose this series of works also blind, at two major national exhibitions, Carrara (Church of Suffrage - 2005) and Monza (Certosa di Agliate - 2006) held in collaboration with ' UIC and with great success of public criticism and media. >> (Artes - 2007)

Painting Techniques
Mixed media on canvas and board - oil --
Acrylic - Vinyl - pigments - enamels - Synopses
Textile - Materials Recycling Tele-Consolidated --
Plasters - Polyurethane Foam.

Graphic techniques
Unique charcoal, pencils,
inks, powders, pigments, cards dealt.

Reviews
Arts Review
Yearbook of Modern Art, Art,
Praxis, Forum Artis, Art Future

Newspapers
The Corriere della Sera - Il Giorno
The Nation - Il Resto del Carlino
The Tirreno - Il Secolo XIX

Art Books
"Pierotti" by Luciano Caprile (Artes 2005)
"CONCRETE DREAMS" (Arts 2006)

Works Galleries
Bern, Malmo, Milan, Florence, Venice, Rome, Pisa,
Genoa, Bergamo, Piacenza, Modena, Viareggio.

Works in Museums
Museo d'Arte Contemporanea - Pescara
Forum Artis Museum - Montese - Modena
Camec - Arte Moderna e Contemporanea - La Spezia

Testimonials criticism
Luciano Caprile, Vittorio Sgarbi, Nicola Micieli,
Giorgio Seveso, Lino Cavallari, Joseph L. Coluccia,
Franco Basile, Ferruccio Battolini, Fabio Tedeschi


Pierotti: Activities exhibition

European salons
1997 Europ'Art (Contemporart) - Barcelona - Esp.
1998 BIAF (Contemporart) - Barcelona - Esp.
2004 F.I.L. Luxembourg - personal "La Mer du Réseau" (Palma Arte) - Lux.
Europ'Art 2004 (Palma Arte) - Geneve - Schw.
2004 lineart - (Palma Arte) - Gent - Bel.
2004 Art Holland Den Haag - (Palma Arte) - The Hague - Ned.
2005 Innsbruck ART - personal Festivals Trauma "(Contemporart) - Innsbruck - Ost

Italian salons
1994 Vicenza Arte (Contemporart) - Vicenza (VC)
1994 Art Fair (Contemporart) - Padova (PD)
Art Expo 1995 (Contemporart) - Bari (BA)
1996 Art Fair (Contemporart) - Padova (PD)
1996 MiArt (Contemporart) - Milano (MI)
PAF 1997 (Contemporart) - Palermo (PA)
1999 Art Udine (Contemporart) - Udine (UD)
Imagine 2004 Arte Moderna - (Contemporart) - Reggio Emilia (RE)
Personal
1997 mixed techniques - Galleria Transit - Bergamo (BG)
Pierotti 1997 - The Gallery Navicella - Torre del Lago Puccini (LU)
1998 mixed techniques - Palazzo Civico di Sarzana (SP)
Trame 1998 - The Gallery Navicella - Torre del Lago Puccini - Viareggio (LU)
1999 mixed techniques - Gallery Malatestiana - Rimini (FR)
The 1999 plots of Ermione - Versiliana - Pietrasanta (LU)
Pierotti 1999 - Art 99 - Gallery Malatestiana - Rimini (FR)
2000 plots in blue - Galleria Masini - Florence (FI)
2000 The plots of Ermione - Holiday Inn - Bologna (BO)
Pierotti 2000 - Museum Forum Artis - Montese - Modena (MO)
2000 Deep Blue - Club Nautico - Viareggio (LU)
2000 Pierotti - 2000 Arte - Gallery Contemporart Gallipoli (LE)
Pierotti 2000 - "Love 2000" - Modern CentroArte - Pisa (PI)
2001 mixed techniques - "Art is ... Strong "- Assess. Culture - Forte dei Marmi (LU)
2002 Mar Navigli - Naviglio Grande - Milano (MI)
2002 Mixed - Torre Capitolare - Assess. Culture - Portovenere (SP)
More than 2003 Mare (Palma Arte) - Tellaro Lerici (SP)
Mixed Techniques 2004 - Hall of Paradisino - Assess. The culture - Modena
Blu Networks 2004 - (Palma Arts & Forum Artis International Magazine) - Tellaro - Lerici (SP)
Blu Networks 2005 - Art Gallery in Florence - Florence (FI)
Pierotti 2005 - Svenska Konstgalleriet - Malmo (SW)
2005 Networks blue - Space A.P.T. - Marina di Massa (MS)
Concrete Dreams 2005 - Church of Suffrage (UIC & Ass. Culture & Arts) - Carrara (MS)
2006 Dreams concrete - Basilica of Agliate (UIC & Artes) - Milano (MI)
2007 Dreams concrete - Europe Gallery (Art Mercurio) - Camaiore (LU)

OPERA DI RIFERIMENTO:

L'occhio di Zeus

Luciano Caprile
THE DREAM questions us

And 'Georges Braque was the first to use a pictorial element to mimic the painting: "In 1912, in Avignon, I noticed in a furniture store wallpaper imitating a wooden surface. I bought and used then in the Vaucluse rises from a still life. Picasso he was astonished, and began to turn to make collages .... " So were the Dadaists, Kurt Schwitters, namely to spread the use of the 'objet trouvée. Since then, thanks to further boost and provocative of Marcel Duchamp, the elements of everyday life, even those less noble or even scrap, are replacing or favoring risen honor art paints and brushes, marble and bronze.

Milva Pierotti was also conquered by such behavior that has been in the last century, after that opening burst, interesting and inevitable transformations tailored to the demands, needs and sensitivity to composition of the various authors. In the circumstances we are facing an 'artist who likes to combine speech with the more overtly pictorial material for building works that simulate a progressive, varied and tactile deep carvings. To which increased over time contribute mysteries concerning the allegories of substances for evidence of the stage or the seduction of the penumbra. References more immediate and closer to our time suggest the names of Piero Manzoni and Conrad Marca-Relli, without neglecting Antoni Tàpies. But then the substance, which identifies key decisive and sometimes blatant, takes way more seductive timbre in recent outcomes.

This series of works (whose progression is highlighted by winning more and more apparent color and the prevalence of parallel field) starts in 1998 with Blak Rain (p.19) where the vertical cuts and folds of the canvas creates hard shadows and paint other fictitious, as a "trompe l'oeil" to play on variations of yellow dirt washed away.
An interesting trend appears in the plot tracks of 1999 (p.20) since the events are expressed support for voltages superimposed on diagonal vibrations to exceed the rate previously established order with the throbbing pulse of a sudden, the 'indication of a blade of light relief in the wake of sinking into the canvas.

The speech is free and is complicated by Samarkand (p.21) where the object recovery manifests all its evidence and redeems itself in a combination of aggressive and even dramatic vitality provided by the punctuation of embroidery, from wrinkles to create overs a rate of unexpected anxiety.
So triumphs canvas rescued from its previous history, like a "sack" Burri.
And the concept is enriched by new contributions and emotional timbre with White Gold (p.22) of the same year due to a fluctuation of folds that detach from the ideal of a white wall, partially limited by a fifth obscure. Milva Pierotti has its narrative elements to create different levels of depth, real or illusory, that fuel the mystery of the eternity before and after a course of representation, apparently blocked by the gesture of the artist. In the latter 's test of flares appear yellow on the above-mentioned white background image that propel the fire towards the observer: the look, as happens more often then anticipates touch and replaces it for a moment the sounding of that depth that hosts the conquest and even profane the intimate of each.
The year 2000 welcomed us with Rio Negro (p.23) a range of chipped edges and scratches on a surface that acquires a further lived and troubled about the pace of verticality have proven in previous occasions. But the breakthrough comes to us from a number of works' that start next year with the resumption of a monochrome environment offered by Beyond the West (p.24), a wound on a flavor autopsy tissue that bundles free of tension we call muscle tendons. The novelty in 2001 lies nell'irruzione decided color, sometimes violent, loud: the announcement is given by a red band that encircles horizontally Lungotevere (p.25) breaking into the calm uniformity in the collection. And 'the prologue of a curtain closes, echoing or receive a series of appearances unexpected depth later just enjoy in previous circumstances: I remember it (p.26) to offer a similar approach of surprises ranging from rough piece of sack the underlying embroidery curtain, supported by the blue band, until the red slot in which to drown their curiosity. In the short space unfolds a sequence of materials and antagonists of dissonance to a harmony of volumes unusual, unsettling, such as to undermine the usual approach of the gaze. The tension is addressed to a future that we do not know.

With Lemon juice / lemon juice and 1 / 2 (p.27) there is the perception of a body that is directly involved in the event. And this consideration is not only supported by the 'use of a trouser jeans that gives shape and contrast to the yellow background, but from lack of information on the rest of the scene outlines, especially in the first case, the possibility of a concrete presence and intrusive suitable to provide unequivocal impression that the event should not provide Effective images derived from their past.

And 'ildubbio thus driving the reading of such moments.
A question that as we shall see, will grow further in situations that mimic a disconcerting evidence without openly declare it. E 'therefore personalissimainterpretazione to drive a personal reality.

A proof to that effect appears to be asleep (p.28) suffered from overlapping reading frames that appear at an ideal curtain, in the Rift (p.29) but there is a sudden burst of brown substance from the root canvas cinerea .
In 2002 production White Morning (p.30) immediately begins to test our skills of perception and interpretation: the soft scans between the white and pale violet seem to wrap and hide volumes of anxiety felt by the red band that enters the base of ' operates as a moment of rupture of harmony. And 'anxiety to keep the edge of thoughts as possible.
Another consideration should be made for Tu es Petrus (p.31) where the return of monochrome, or at least less bright tones, allows a more detailed reconnaissance and calm,
not affected by sudden leaks of attention.
The material leaking from a cut of the white background always has the characteristics of the surprise invasion of territory by adding the charm of a hand in the foreground is capable of evoking an embroidery, as happens in some collages where Antoni Clave ' unexpected ornament redeems poverty ol'essenzialità other elements that contribute to balance overall.

Also visual drama and tension, they meet the eye of Zeus (p.33), which is threatening the revelation of a part of the mystery kept beyond the leveling of a hypothetical white wall that preserves the appearance of life.
If we return to the ring of color is enough to turn to Martini Red (p.34) with yellow stream emitted from a base or blood Curtain (p.36), a strong breeze convergence of moods.
The 2003 highlights the dramatic way some situations we have just discussed: Crossino (p.37) enhances the flow and radial expansion of matter in a climate of insecurity perception night paradoxically enhanced by 'blinding beam of light that floods the upper edge of the picture; Emergence of control (p.40) highlights that the rings color spilling from a physical structure that can contain them with difficulty. As we have repeatedly observed, it seems that the event or at least the decisive moment arises elsewhere, outside of our observation, we can only appropriate the final phase, completed. Therefore witnessing the outcome, not the birth and development of a story that gives us questions, doubts, rather than certainties. Therein lies the disturbing power of deductive work Milva plump that questions constantly providing us sometimes subtle visual news cloaked perhaps disconcerting and bright exterior expression. The artist's ability to split the message perceived by the statement in the immediacy of intimate eye contact provides an important weapon in the work and its opportunities to surprise, to annihilate, to amaze.

They relish the situation just described second identity (p.50) and Macumba (51), two works that seem to echo some extent obvious that employment of material already used to be proposed as a possible imitation of a wound, In the first case, or the ostentation of a life in the second.

Further reports arising from the dense tactile and evocative textures of ascending Duet (p.52) and by nocturnal backdrop that highlights the diverse and embroidered top Ice Blue (p.53). And we come Grooving (p.54) and walking (p. 55) where a further visual disturbance is triggered by uptake of organic forms and tonal soaking in the first case, the winding and partial removal inquiring into the second.

It 'a discourse that continues and expands in 2004 through a series of small paintings that highlight the research of anxiety in these unexpected events that are not apparently different from other eruptions found in earlier works. Yet the proposition that their volume almost defined, together with colors and shadows ambiguous part of the viewer thought of doubt or suspicion of the imagination to see something that suggests and immediately want to remove.

He lights a troubled emotion Bacon (because of his body altered, or incorporated dall'allusione) separated from the pleasure of contemplation.
These elements are materialized, as in a film sequence in Mon Repos (p.58), in Journey to yellow (p.59), traveling in blue (P.60) in Belle Epoque (P.61) for both mention some work.
Here then is the "real dreams" can be turned into nightmares palpable. Unless we take refuge with Milva plump island apparently happy to Birth (P.62): a rising sun and it promises a future of harmony and beauty.


Luciano Caprile, March 2005

OPERA DI RIFERIMENTO:

Tango