Diana Pintaldi sperimenta nei processi sconfinati del divenire, ricercando la comunicazione e la manifestazione dell’Essere in un dualismo esistenziale orientato al trascendere.
L’artista, astraendosi nel divenire di punto, compone scritte in codice Morse che ricama, fora, suona e proietta.
Traccia il filo di un percorso che insegue, esplora e interpreta per cercare di comprendere l’evoluzione di ciò che le accade e che la circonda.
Il filo è luce e la luce è filo, energia vitale che attraversa lo spazio e la superficie generando un percorso vorticoso e intermittente, apparentemente asemico, che nasconde un significato realmente decodificabile, fatto di punti e linee in attesa di essere collegati, interpretati e direzionati.
Sceglie supporti connessi al tempo e al mutevole, su cui sperimenta quattro azioni che mappano ciò che, per lei, l'Essere compie continuamente:
attraversare, collegare, proiettare e interpretare:
Attraversare il supporto può essere un atto delicatissimo come quando cuce la carta, o violento e drammatico come quando incide con martello e punteruolo l’alluminio.
Per collegare utilizza il filo ( di lana, di cotone o di fil di ferro) o la luce (naturale o di corpi illuminanti interrati nell’opera).
Il proiettare si riferisce alla proiezione fisica dell’opera e al suo messaggio che verrà interpretato.
Il processo si ripete zootropicamente, per questo usa spesso palindromi, bifrasici, linee dinamiche, strutture che permettono movimento e mutamento, in attesa di quella predestinata sincronicità junghiana, in parte riposta nello stesso codice Morse, che connette e rivela segni e simboli, permettendo all’Essere di percepirsi in connessione con il Tutto.
I suoi lavori ricercano, manifestano e comunicano l’Essere, in quanto essenza essenziale, attraverso un segno che procede e si addentra nello spazio e nel tempo in un mantra quasi meditativo, con evoluzioni e rivoluzioni elicoidali che rimandano all’infinito.
In questa sospensione, dove il qui e ora coincidono, i meccanismi dell’ignoto e dell’Oltre sembrano liberarsi per qualche instante del loro mistero, concedendo di scorgere quel futuro potenziale che riattiva il divenire e il processo esplorativo con un rinnovato stato di energia e consapevolezza.
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Diana Pintaldi experiments with the boundless processes of becoming, seeking to convey and display the Being in an existential duality.
The artist, abstracting herself in a moving dot, seeks for the meaning of her path through Morse code. She generally creates installations with writing embroidered or punctured in Morse code, the key which permits her to explore that which happens to her and surrounds her.
Diana Pintaldi chooses her work materials in connection with the transient processes of life and adopts a method using four separate actions which, for her, the Being carries out continually:
crossing, connecting, projecting and interpreting.
The process of the four actions repeats itself cyclically.
For this, she often uses palindromes, biphrases, dynamic lines, structures that permit movement and change, awaiting that predestined Jungian synchronicity, that she finds, in part, in the Morse code itself, which connects and reveals signs and symbols, permitting the Being to perceive its connection with the All.
Her works seek, display and convey the Being, as an essential essence, through a moving sign which enters space and time, in an almost meditative mantra, with helicoidal evolutions and revolutions which reach towards infinity and the Beyond.
In this coincidental suspension of time and space, the mechanism of the Unknown and of the Beyond seem to free themselves for some instances from there mystery, permitting us to glimpse infinite future potentials which revive the Becoming and the exploration process with renewed energy and awareness.
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I initiated my pictorial research into movement. In 2015 I had my first solo exhibition at Lorenzo Cantarella’s Creative Room Art Gallery .
In 2016 my prospective on white canvas underwent a change. Turning over the white, prepared canvas, I started to work on raw canvas on the back, experimenting also with works using both sides of the canvas.
In 2019 I attained the Atelier in the MACRO Asilo Giorgio de Finis project. There I carried out research into the processes of the realization of my works, individuating a certain methodology which I try to demonstrate to display to visitors also using zoetrope models. My Atelier project bore the name “Anima l’istante” (Activating the instant). After the experience at MACRO Asilo I discovered that I felt the need to use a weft which had a past and a history. As a consequence of this, after sewing a picture of mine on canvas over an antique family carpet there followed a series of works on cloth which would be modified time and time again.
In 2021 I started to frequent the Elisa Montessori studio. In that same year, feeling that the process of connection of cloth elements was blocked in a continuous unthreading and resewing, I decided to put all my research in doubt by filling the walls of my studio with recurring key words and thoughts right from my infancy. Thus I recognized the dot line of morse code as the connecting point that I used in my sewing and and suddenly the thoughts which I sought to give form to assumed a significance.
In 2023 I was contacted by the Fondazione Pistoletto regarding some photos of mine, family portraits over the years, in front of the Maestro’s work, “la smorfia“ at the Galleria Nazionale. The photos were great appreciated by the Maestro and as well as an interview on the Foundation’s Journal, there followed two important meeting with the Maestro himself.
This year i have also displayed a work for the exhibition “Vuoto”(emptiness) in the artist run space Struttura of Cristallo Odescalchi, in a project subdivided into different subjects involving more than a hundred artists from the Roman scene.
I was selected by Massimo Scaringella, and I displayed my work under his patronage for Wall at KOU Gallery.
Following on from that joint exhibition with Roberto Vignoli Light Poems in the Galleria Borghini - artisti con la luce.
On 28th October 2023 during the Rome Art Week I opened Gate30 a space performance , a temporal space of a few hours in which to visit my personal exhibition “Geografie a filo”, with a critical essay by Laura Catini. The Gate30 performance was born to create a living experience regarding the time of the places permitting the spectator to connect with the artist vision.
L’artista, astraendosi nel divenire di punto, compone scritte in codice Morse che ricama, fora, suona e proietta.
Traccia il filo di un percorso che insegue, esplora e interpreta per cercare di comprendere l’evoluzione di ciò che le accade e che la circonda.
Il filo è luce e la luce è filo, energia vitale che attraversa lo spazio e la superficie generando un percorso vorticoso e intermittente, apparentemente asemico, che nasconde un significato realmente decodificabile, fatto di punti e linee in attesa di essere collegati, interpretati e direzionati.
Sceglie supporti connessi al tempo e al mutevole, su cui sperimenta quattro azioni che mappano ciò che, per lei, l'Essere compie continuamente:
attraversare, collegare, proiettare e interpretare:
Attraversare il supporto può essere un atto delicatissimo come quando cuce la carta, o violento e drammatico come quando incide con martello e punteruolo l’alluminio.
Per collegare utilizza il filo ( di lana, di cotone o di fil di ferro) o la luce (naturale o di corpi illuminanti interrati nell’opera).
Il proiettare si riferisce alla proiezione fisica dell’opera e al suo messaggio che verrà interpretato.
Il processo si ripete zootropicamente, per questo usa spesso palindromi, bifrasici, linee dinamiche, strutture che permettono movimento e mutamento, in attesa di quella predestinata sincronicità junghiana, in parte riposta nello stesso codice Morse, che connette e rivela segni e simboli, permettendo all’Essere di percepirsi in connessione con il Tutto.
I suoi lavori ricercano, manifestano e comunicano l’Essere, in quanto essenza essenziale, attraverso un segno che procede e si addentra nello spazio e nel tempo in un mantra quasi meditativo, con evoluzioni e rivoluzioni elicoidali che rimandano all’infinito.
In questa sospensione, dove il qui e ora coincidono, i meccanismi dell’ignoto e dell’Oltre sembrano liberarsi per qualche instante del loro mistero, concedendo di scorgere quel futuro potenziale che riattiva il divenire e il processo esplorativo con un rinnovato stato di energia e consapevolezza.
----
Diana Pintaldi experiments with the boundless processes of becoming, seeking to convey and display the Being in an existential duality.
The artist, abstracting herself in a moving dot, seeks for the meaning of her path through Morse code. She generally creates installations with writing embroidered or punctured in Morse code, the key which permits her to explore that which happens to her and surrounds her.
Diana Pintaldi chooses her work materials in connection with the transient processes of life and adopts a method using four separate actions which, for her, the Being carries out continually:
crossing, connecting, projecting and interpreting.
The process of the four actions repeats itself cyclically.
For this, she often uses palindromes, biphrases, dynamic lines, structures that permit movement and change, awaiting that predestined Jungian synchronicity, that she finds, in part, in the Morse code itself, which connects and reveals signs and symbols, permitting the Being to perceive its connection with the All.
Her works seek, display and convey the Being, as an essential essence, through a moving sign which enters space and time, in an almost meditative mantra, with helicoidal evolutions and revolutions which reach towards infinity and the Beyond.
In this coincidental suspension of time and space, the mechanism of the Unknown and of the Beyond seem to free themselves for some instances from there mystery, permitting us to glimpse infinite future potentials which revive the Becoming and the exploration process with renewed energy and awareness.
---
I initiated my pictorial research into movement. In 2015 I had my first solo exhibition at Lorenzo Cantarella’s Creative Room Art Gallery .
In 2016 my prospective on white canvas underwent a change. Turning over the white, prepared canvas, I started to work on raw canvas on the back, experimenting also with works using both sides of the canvas.
In 2019 I attained the Atelier in the MACRO Asilo Giorgio de Finis project. There I carried out research into the processes of the realization of my works, individuating a certain methodology which I try to demonstrate to display to visitors also using zoetrope models. My Atelier project bore the name “Anima l’istante” (Activating the instant). After the experience at MACRO Asilo I discovered that I felt the need to use a weft which had a past and a history. As a consequence of this, after sewing a picture of mine on canvas over an antique family carpet there followed a series of works on cloth which would be modified time and time again.
In 2021 I started to frequent the Elisa Montessori studio. In that same year, feeling that the process of connection of cloth elements was blocked in a continuous unthreading and resewing, I decided to put all my research in doubt by filling the walls of my studio with recurring key words and thoughts right from my infancy. Thus I recognized the dot line of morse code as the connecting point that I used in my sewing and and suddenly the thoughts which I sought to give form to assumed a significance.
In 2023 I was contacted by the Fondazione Pistoletto regarding some photos of mine, family portraits over the years, in front of the Maestro’s work, “la smorfia“ at the Galleria Nazionale. The photos were great appreciated by the Maestro and as well as an interview on the Foundation’s Journal, there followed two important meeting with the Maestro himself.
This year i have also displayed a work for the exhibition “Vuoto”(emptiness) in the artist run space Struttura of Cristallo Odescalchi, in a project subdivided into different subjects involving more than a hundred artists from the Roman scene.
I was selected by Massimo Scaringella, and I displayed my work under his patronage for Wall at KOU Gallery.
Following on from that joint exhibition with Roberto Vignoli Light Poems in the Galleria Borghini - artisti con la luce.
On 28th October 2023 during the Rome Art Week I opened Gate30 a space performance , a temporal space of a few hours in which to visit my personal exhibition “Geografie a filo”, with a critical essay by Laura Catini. The Gate30 performance was born to create a living experience regarding the time of the places permitting the spectator to connect with the artist vision.
