CREATURA: In Limbo
About prints in “Creature Botaniche: Human and Plant Forms Conjoined"
My gaze settles on different features as the foregrounds and backgrounds seem to go in and out of focus. It’s a perceptual experience that’s ambivalent - tentative, shifting between revealing and concealing something about the human and botanical forms. I have an urge to fuse them - humans and plants –to mend, heal something in these …like printed prayers. I imagine the ink, images and paper pressing a warp and weft, making a tapestry celebrating and cautioning our conjoined fates. I'm trying to achieve imagery that is beautiful enough to dwell on... prompt the viewer to linger and consider a question.
I’ve been prompted recently to think about these prints in the context of archetypes. At the crossroads of aesthetic experience and archetype I find myself at “beauty”.
About Process - “Creatura” Series
Each of these is a monoprint. Within this series – Creatura Botanica, each print is different. They vary both in color and imagery. There are six botanical plates from which the plant prints are pulled: Hydrangea, Nasturtium, Wisteria, Quince and Beech (two plates). With each printing and inking they may change a good deal - the color palette as well as subtle or salient aspects of the composition. The botanical plates are matched with the body imagery and so the couplets are formed. For example: Hiding Quince or Peering Beech. These pairings too have changed over time and new ‘matches’ present themselves.
Creatura was intended as a 6-month exhibit but only hung for 4 weeks until it was closed abruptly by the earthquakes that shook the Emilia-Romagna region north of Bologna in April 2012. Some of the prints that you see here are a selection of those salvaged from the earthquakes. The prints on stretched canvas were cut off the stretchers for transport to the US and then were trimmed for display on metal strapping with magnets. This particular hanging has been designed so that the canvas can be re-stretched on stretchers or may continue as they are. The ones with bees wax can also be displayed as they are, or can be framed.
Sadly ‘castello’ an 800 year-old castle has been closed indefinitely. but a number of pieces from the Crevalcore show remain in Italy, in the collection of Corte Eremo in Mantova, the new home of the show‘s curator Clark Lawrence and Reading Retreats in Rural Italy. These were exhibited at Casa del Mantegna, in “Clark’s Collection” in Mantova – May and June with works by German photographer Sven Fennema, and Greek and Ukrainian painters Pavlos Habidis and Juri Zurkan. Website: www.dinapetrillo.com. http://www.galeazza.com/en/art_petrillo.php.
a creature itself, this body of work continues to change and I’m regularly
surprised by what it yields, both in possible meanings/significances and the
raw material of imagery. The plants that emboss the human figures in Creatura,
have found their way from two dimensions to three and populate the menu of
Maine Botanicals, Belfast Bay Shade Company’s flagship fine art lampshade line
showing in two New York City markets at the Javits Center in January and
August. It would seem these prints may yet yield more adventure. Thanks for