Whether it be flesh or stone
The clay ball is waiting to be transformed into a solid idea. Then, when the hands caress it, squeeze it, shape it, it shows its happiness by transforming into a new body: which can be hollow, curved, flat, spherical, full, long. Like the thought from which it is generated. Or from which it escaped.
The story of the clay ball and the hands that are giving it a (new) life share the same story. Hands of a woman, feminine ceramics, as the most prehistoric form of modern art that a human being can imagine: childbirth as a grand finale. After all, what is love if not creation: whether it’s flesh, ink, word or stone, destiny will decide.
Annalisa Valoroso owes her art to an outburst of happiness. And as always, the brightest light comes from the deepest darkness. Annalisa came from a crisis of interrupted studies, of personal dissatisfaction and she found herself in San Francisco with her small son and a beloved globetrotting companion. Six years ago, practically the day before yesterday, a geological era compared to the tumbles of today's news. The passion for architecture is the agar on which you take root and develop the culture of curiosity: what if I took a ceramics course?
That's where the contagion develops: the joy for the child, the satisfaction of the pieces of life that finally begin to find the right place and the idea takes shape. The story could end here with a surprise blow: Annalisa will crown her dream of shaping matter without ever having attended that course. But since art is the mirror of the soul, even clay gives us a reflected image.
It is the image of a woman who calls her laboratory "Stanzanumerotre" to remember the hospital room in which she gave birth to her son. The image of a continuous work in progress in which the most promising future is a present lived with disenchanted awareness. The image of hands that are dancing tools on the decorative lathe and that are intimidated in front of the electric lathe: a technicality that could make you smile if you didn't weigh the instinct that, in the planet of creativity, is infinitely more valuable than gold.
The first creative whimpers with Das, the artistic adolescence with a clay stick bought on Amazon - a logical oxymoron that sees the most classic analogue and the most sophisticated digital encysted one inside the other - the coveted maturity of the first artifact , a twenty-centimeter jar made with the Colombino technique still preserved (and considered) in the world of Annalisa as a sort of Rosetta stone.
The art of mud and dust is a way to scrub life from the everyday residues of ordinary life. For this reason Annalisa does not care where she kneads, where she cooks, where she dries: the city, the hinterland or other suburbs.
“First the thought, then the place”.
The mantra of a good craftsman.
A craftsman of life, first of all.