The artist and curator Cristián Silva Soura (Santiago de Chile, 1969) writes for the exhibitions “Piedra Negra I” and “Piedra Negra II” by the artist Fiorella Angelini. The exhibitions were opened simultaneously in Centro Cultural España and Casa Colorada Gallery. Santiago de Chile, April, 2018.
The work of Fiorella Angelini arises from the constant struggle and reconciliation of two elementary forces of equal intensity: on the one hand, what we might call a severe analytical disposition towards her environment, and on the other, the sentimental and sensitive relationship she establishes with it.
In modern times, where the “spectacular”, the strident and the explicitly flamboyant have hijacked the visual arts, Angelini’s work offers a certain degree of opacity, calm, stillness, and even intimate tenderness; a minimal starting point, a space of restraint and shelter for the delicate poetic and psychological burdens of the image.
With the austerity and discretion of a spiritual flâneur, but coming from the complexity of the displacement of the most elementary issues of the engraving practice (incisions, grooves, burrs, wedges and mismatches, reservations, double mirrors, serialization, etc.), and the language of traditional photography (selective focus and blurs, sub and overexposures, reframing, sweeps, scale inversions, etc., and their consequent aberrations, residual effects, declines and deterioration), Fiorella Angelini explores the image’s backyards, examining its scum and investigating images that still do not know that they are images, as well as those that do.
The conflicts between distance and proximity are key in her work. Specifically, with regards to photography, the negotiations between the “photo image” and the “photo object” are very important; that is, straining the limits between presentation and representation and production and reproduction.
In an incessant oscillation between nature and culture and present and past, the work of Fiorella Angelini constitutes a subtle invitation to immerse ourselves in the memory and to contemplate the vestiges, the waste, the “naditas”, the seemingly insignificant trifles that, by force of habit, we tend to ignore in urban and rural contexts, both public and private.
Her work brings together the affective dimension of various places-landscapes and found objects (melancholy, nostalgia, abandonment, loneliness and dispossession), and their intersection with the contemporary conjuncture of territoriality: this is how in Angelini’s work, the presence of a – real or imaginary- landscape may suggest or refer indistinctly and simultaneously to scientific, social, geographical and autobiographical matters.
The art of Fiorella Angelini is that of correspondences and coincidences. It is also the art of interstice, of the in-between; the subtle intervals of silence and energy that appear just between inhalation and exhalation. If it were auditory, its mysterious work would be like the oscillation/sound vibration generated by pressing two slightly different notes, a psychoacoustic phenomenon known as beat tone.