ART PATHS
Time In Stone
ART PATHS
Hall 11
Curated by: Raffaello Galiotto
Stone-processing machines as a source of artistic inspiration.
The pressing and pervasive introduction of digital technology into all human activities does not spare even the most ancient practices and traditional materials, such as stone—long universally recognised as witnesses to age-old craftsmanship. In nature, many endangered species respond with renewed vitality, developing resilient new strains and unexpected blooms. In the same way, ancient materials and their traditional uses can reveal new characteristics that go beyond what could previously have been foreseen.
Thus, natural stone, thanks to digital immateriality, can reveal a surprisingly new face, repositioning itself once again fully within the contemporary. Art Paths, curated by Raffaello Galiotto and now in its third edition, investigates the use of CNC machinery in the artistic processing of stone.
a.
Nicolas Bertoux — Luana Marmi with La Fenice Marmi, Ronchini Massimo
Jon Isherwood — Garfagnana Innovazione
Cynthia Sah — Emmedue, DDX
EGGS AIL
AUTHOR
NICOLAS BERTOUX
PRODUCTION
LUANA MARMI with LA FENICE MARMI, RONCHINI MASSIMO
MATERIAL
CIPOLLINO CREMO
My project starts from a simple form: the egg, symbol of the origin of life. The egg tells us a story of time—from the age of the dinosaurs to our domestic hens, passing through Christopher Columbus. Human ingenuity has invented countless tools, machines and technologies, and harnessed the power of wind—from the sails of ancient ships to modern wind turbines.
Eggsail combines the form of the egg with the undulating shape of a sail, symbolising the union of the most ancient forms of life with the most advanced technologies: from wind energy to robotics.
PROGRESSIONS
AUTHOR
JON ISHERWOOD
PRODUCTION
GARFAGNANA INNOVAZIONE
MATERIAL
NERO MARQUINIA, BIANCO CARRARA
Time is the indefinite and continuous progression of existence—a fluid and irreversible succession from the past through the present and into the future. Progression is the process of development or gradual movement towards a more advanced state. Fluidity is the dynamic condition in which change and time coexist.
I ask the question: how does the artist embrace the idea of advancing marble towards a more evolved state of expression? Is it possible to evaluate all the traditional methods by which marble has been worked, and then employ new technologies to contribute to this timeless exploration?
Progression is based on fluidity. My intention is therefore to capture marble’s ability to visually express the stratification and compression that occurred 200 million years ago, and to further explore the continuum of its fluid expression.
STINGRAY
AUTHOR
CYNTHIA SAH
PRODUCTION
EMMEDUE, DDX
MATERIAL
ARABESCATO DI CORCHIA
Drawn to the movement of the stingray, a particular cartilaginous fish, I discovered that its origins date back 300 million years—remarkably contemporaneous with the formation of metamorphic marble. A coincidence that resonates strongly with the exhibition theme Time in Stone.
Marble is a magnificent gift of nature, and I am deeply aware that working with it and touching it is a great privilege. My work is the result of collaboration with other disciplines—programmers and IT technicians—who also contribute their sensitivity to the piece.
I would like the sculpture to stretch its wings and escape the block that confines it, just as I wish to do when working with digital tools.
