Francesca Pasquali

(Bologna, 1980)
Francesca Pasquali’s works manage to capture the attention, asking everyone’s eyes to observe them with admiring curiosity.
The plastic and vibrant surfaces of her works certainly are accomplices, destined to develop that iridescent effect that doesn’t even leave us the time to wonder “what the work is made of”, but invites us to approach it, to observe it and at the same time to touch it, to come into contact with its material, to listen to its silent presence.
If the sense of sight is the first to be naturally involved in her research, the sense of touch is certainly invited and tickled by his works: we want to touch them, know their consistency and thickness, feel their softness or roughness. The eyes thus stretch out towards them and the spell exerted persists and pushes the public to careful contemplation. But that’s not all: in the surfaces made with iridescent or monochrome straws, the sound-absorbing effect also involves the sense of hearing. When we approach them with our ears, we realize that a suspended, metaphysical silence surrounds them and we are thus involved in a fascinating multi-sensory experience.

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At the same time, the metamorphic beauty exerted by each of her works derives from a careful analysis of the relationship between nature and artifice: starting from a research on natural and biomorphic elements - the microscopic observation of animal and vegetable elements - Francesca Pasquali tries to transfer and translate them into artificial data, through the use of natural and industrial polymeric materials (neoprene, PVC, plastic waste materials). Between organic and inorganic, figuration (or rather, the possibility of figuration) and material abstraction, the relationships with the space in which and for which the works were made is fundamental: thanks to the malleability of the materials wrapped, woven, sewn, or assembled through nylon cores, metal mesh or fabric, Francesca Pasquali models and transforms them from time to time, in a game of relationships and seductions with the environment and the existing architectural elements. Her research is coherent and conscious and shows a deep reflection on the languages expressed by the Informal to the programmed avant-garde, up to the experiences of Arte Povera which, half a century ago, with different methods and results tried to reformulate the potential of art as a tool for social investigation and method of reformulation of the world.