{"id":6523,"date":"2024-11-18T21:05:04","date_gmt":"2024-11-18T21:05:04","guid":{"rendered":"https:\/\/www.breradesigndistrict.it\/?p=6523"},"modified":"2024-11-18T21:05:05","modified_gmt":"2024-11-18T21:05:05","slug":"","status":"publish","type":"post","link":"https:\/\/www.breradesigndistrict.it\/en\/news\/mostre\/alchimie-nel-vuoto-di-elena-salmistraro\/","title":{"rendered":"\"Alchimie nel Vuoto\" by Elena Salmistraro","raw":"\"Alchimie nel Vuoto\" by Elena Salmistraro"},"content":{"rendered":"\n
\n

An exhibition through art, monsters, and creative alchemy<\/h2>\n<\/div>\n\n\n\n

Elena Salmistraro\u2019s art finds its most intimate and experimental expression in the exhibition \u201cAlchimie nel Vuoto\u201d<\/strong>, curated by Silvana Annicchiarico and hosted at the Antonio Colombo Gallery in Milan from 28 November 2024 to 8 February 2025<\/strong>. Through drawings, sculptures, and multimedia works, Salmistraro explores the void not as emptiness, but as fertile ground for creation and reflection.<\/p>\n\n\n\n

In the exhibition, Salmistraro embraces painting and drawing to bring forth a series of symbolic creatures that challenge the ordinary, revealing a complex and multidimensional inner world. Her works play with contrasts of textures, colours, and forms, transforming the space into a setting where visitors are invited to explore their own imaginations.<\/p>\n\n\n\n

Silvana Annicchiarico, the curator, describes the exhibition as a \u201cdialogue between opposites\u201d where void and fullness merge to create new and intriguing alchemies.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

In a conversation with Elena Salmistraro, we delved into the significance of the exhibition and her artistic journey<\/strong>. When asked how \u201cAlchimie nel Vuoto\u201d fits into her professional and artistic path and what inspired this exploration of the concept of the void, she responded:<\/p>\n\n\n\n

\u00abI\u2019ve always been reluctant to share my most intimate drawings, those works born from an inner need, separate from the commercial demands that define much of my work. However, painting has always been a source of release for me, a chance for inner analysis and research. Drawing allows me to explore things in depth, to visualise them, and in some way to exorcise them. <\/span><\/span>When Colombo asked me if I would be willing to show this side of myself, a part that has perhaps remained implicit and never revealed until now, I thought: why not? The time had come.<\/span><\/span>There were so many sketches and reflections, but thanks to the careful eye of Silvana Annicchiarico, the curator, I found a direction. Her external perspective was crucial in identifying the theme to explore: fears, monsters, the void. <\/span><\/span>Thus was born \u201cAlchimie nel Vuoto\u201d, another part of me, different yet complementary. It probably represents the origin of everything, that inner exploration that generates forms, visions, and ideas, and that, through numerous stages, takes shape in the objects and forms that define my work.\u00bb<\/em><\/p>\n\n\n\n

Salmistraro\u2019s work is known for its highly recognisable illustrative graphic style<\/strong>, which she has skillfully translated into the development of products and installations. Reflecting on her professional development and what we can expect in the future<\/strong>, she explained:<\/p>\n\n\n\n

\u00abMy journey is one of constant evolution, without imposed limits. I studied art at secondary school, fashion and design at university, and I am fascinated by illustration and street art. These interests have shaped my work over the years. <\/span><\/span>I don\u2019t believe I\u2019ve invented anything new, but I\u2019ve selected, blended, investigated, and reinterpreted my passions, trying to do it my way, with a personal language. Perhaps it\u2019s this hybrid approach, straddling various disciplines, that has allowed me to explore and rework codes and aspects in a natural way, guided only by the pleasure and passion for what I do. <\/span><\/span>If I had to say what I will do tomorrow, I would reply that it will be whatever stimulates me the most, because monotony is what I fear the most. <\/span><\/span>Although I am quite methodical and habitual in my personal life, in my work I always need to face new challenges, keeping a consistent language but finding new ways to express it.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Her visual style is often defined by bold use of colours, textures, and organic forms<\/strong>. When asked how she manages to balance complexity and harmony<\/strong> in her work, she indicated:<\/p>\n\n\n\n

\u00abI believe the credit goes to drawing and painting. Facing a blank canvas, that void, often induces a kind of fear, a horror vacui that must be confronted and balanced. Over time, I have learned to manage shapes and volumes within a well-defined space, the so-called ‘composition weights’. This aspect has always fascinated me, and I discovered that it\u2019s universally valid when it comes to composition and design. The precise placement of a line or the correct scale of a seat are much more similar processes than one might think. <\/span>Over the years, this has also become a challenge with myself, starting to layer more and more elements and various levels of interpretation. In the end, it\u2019s a game\u2014a serious game. <\/span><\/span>The same goes for colours, which play a fundamental role in my work. When I paint, for example, I rarely use colours as they are found in stores; I usually recreate them, mix them to produce new shades, saturations, and vibrations. To manage the colours in this collection effectively, I had to catalogue and number all the shades I created, and it was a very complex job.\u00bb<\/em><\/p>\n\n\n\n

The motif of the mask <\/strong>seems to hold a recurring symbolic role in her work, as we see in the piece \u201cLa Maschera d\u2019Oro\u201d. Regarding the significance of the mask, how it has evolved in his creative journey as a fantastic element<\/strong>, and how he thinks it influences the public’s perception, she replied:<\/p>\n\n\n\n

\u00abMasks have always fascinated me because I consider them symbols of change and protection. Initially, I was drawn to them for their aesthetic value, but in this painting, I wanted to use them as a filter to explore identity and the mystery hidden behind people, highlighting the complexity of the human being and its facets. <\/span><\/span>The mask thus takes on a deeper meaning, becoming a bridge between the visible and the invisible, between the earthly and the divine. <\/span><\/span>Of course, the fantastic element plays a central role, because only through imagination is it possible to transcend everyday reality and envision future scenarios.<\/span><\/span>In painting, as opposed to design, this element allows me to express myself with greater freedom, exploring a space where the rules of reality are suspended and anything becomes possible. <\/span><\/span>As for the audience\u2019s perception, I believe that the fantastic not only fascinates and intrigues but also invites reflection on the relationship between what we perceive and what we desire.<\/span><\/span>Imagination is, for me, the heart of this work: without dreams and imagination, we cannot create what might one day become reality. It is undoubtedly the most powerful means to bring new creations to life, whether in art or objects, as it is both a sensory and intellectual experience.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

\u201cAlchimie nel Vuoto\u201d offers a profound immersion into Salmistraro\u2019s artistic vision, where the void becomes a starting point for explorations rich in meaning and nuances. The exhibition stands as a unique opportunity for the public to connect with the artist’s world, filled with monsters, symbols, and alchemies that invite reflection on one\u2019s identity and the complexities of human nature<\/strong>.<\/p>\n","protected":false,"raw":"\n\n\n

Elena Salmistraro\u2019s art finds its most intimate and experimental expression in the exhibition \u201cAlchimie nel Vuoto\u201d<\/strong>, curated by Silvana Annicchiarico and hosted at the Antonio Colombo Gallery in Milan from 28 November 2024 to 8 February 2025<\/strong>. Through drawings, sculptures, and multimedia works, Salmistraro explores the void not as emptiness, but as fertile ground for creation and reflection.<\/p>\n\n\n\n

In the exhibition, Salmistraro embraces painting and drawing to bring forth a series of symbolic creatures that challenge the ordinary, revealing a complex and multidimensional inner world. Her works play with contrasts of textures, colours, and forms, transforming the space into a setting where visitors are invited to explore their own imaginations.<\/p>\n\n\n\n

Silvana Annicchiarico, the curator, describes the exhibition as a \u201cdialogue between opposites\u201d where void and fullness merge to create new and intriguing alchemies.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

In a conversation with Elena Salmistraro, we delved into the significance of the exhibition and her artistic journey<\/strong>. When asked how \u201cAlchimie nel Vuoto\u201d fits into her professional and artistic path and what inspired this exploration of the concept of the void, she responded:<\/p>\n\n\n\n

\u00abI\u2019ve always been reluctant to share my most intimate drawings, those works born from an inner need, separate from the commercial demands that define much of my work. However, painting has always been a source of release for me, a chance for inner analysis and research. Drawing allows me to explore things in depth, to visualise them, and in some way to exorcise them. <\/span><\/span>When Colombo asked me if I would be willing to show this side of myself, a part that has perhaps remained implicit and never revealed until now, I thought: why not? The time had come.<\/span><\/span>There were so many sketches and reflections, but thanks to the careful eye of Silvana Annicchiarico, the curator, I found a direction. Her external perspective was crucial in identifying the theme to explore: fears, monsters, the void. <\/span><\/span>Thus was born \u201cAlchimie nel Vuoto\u201d, another part of me, different yet complementary. It probably represents the origin of everything, that inner exploration that generates forms, visions, and ideas, and that, through numerous stages, takes shape in the objects and forms that define my work.\u00bb<\/em><\/p>\n\n\n\n

Salmistraro\u2019s work is known for its highly recognisable illustrative graphic style<\/strong>, which she has skillfully translated into the development of products and installations. Reflecting on her professional development and what we can expect in the future<\/strong>, she explained:<\/p>\n\n\n\n

\u00abMy journey is one of constant evolution, without imposed limits. I studied art at secondary school, fashion and design at university, and I am fascinated by illustration and street art. These interests have shaped my work over the years. <\/span><\/span>I don\u2019t believe I\u2019ve invented anything new, but I\u2019ve selected, blended, investigated, and reinterpreted my passions, trying to do it my way, with a personal language. Perhaps it\u2019s this hybrid approach, straddling various disciplines, that has allowed me to explore and rework codes and aspects in a natural way, guided only by the pleasure and passion for what I do. <\/span><\/span>If I had to say what I will do tomorrow, I would reply that it will be whatever stimulates me the most, because monotony is what I fear the most. <\/span><\/span>Although I am quite methodical and habitual in my personal life, in my work I always need to face new challenges, keeping a consistent language but finding new ways to express it.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Her visual style is often defined by bold use of colours, textures, and organic forms<\/strong>. When asked how she manages to balance complexity and harmony<\/strong> in her work, she indicated:<\/p>\n\n\n\n

\u00abI believe the credit goes to drawing and painting. Facing a blank canvas, that void, often induces a kind of fear, a horror vacui that must be confronted and balanced. Over time, I have learned to manage shapes and volumes within a well-defined space, the so-called 'composition weights'. This aspect has always fascinated me, and I discovered that it\u2019s universally valid when it comes to composition and design. The precise placement of a line or the correct scale of a seat are much more similar processes than one might think. <\/span>Over the years, this has also become a challenge with myself, starting to layer more and more elements and various levels of interpretation. In the end, it\u2019s a game\u2014a serious game. <\/span><\/span>The same goes for colours, which play a fundamental role in my work. When I paint, for example, I rarely use colours as they are found in stores; I usually recreate them, mix them to produce new shades, saturations, and vibrations. To manage the colours in this collection effectively, I had to catalogue and number all the shades I created, and it was a very complex job.\u00bb<\/em><\/p>\n\n\n\n

The motif of the mask <\/strong>seems to hold a recurring symbolic role in her work, as we see in the piece \u201cLa Maschera d\u2019Oro\u201d. Regarding the significance of the mask, how it has evolved in his creative journey as a fantastic element<\/strong>, and how he thinks it influences the public's perception, she replied:<\/p>\n\n\n\n

\u00abMasks have always fascinated me because I consider them symbols of change and protection. Initially, I was drawn to them for their aesthetic value, but in this painting, I wanted to use them as a filter to explore identity and the mystery hidden behind people, highlighting the complexity of the human being and its facets. <\/span><\/span>The mask thus takes on a deeper meaning, becoming a bridge between the visible and the invisible, between the earthly and the divine. <\/span><\/span>Of course, the fantastic element plays a central role, because only through imagination is it possible to transcend everyday reality and envision future scenarios.<\/span><\/span>In painting, as opposed to design, this element allows me to express myself with greater freedom, exploring a space where the rules of reality are suspended and anything becomes possible. <\/span><\/span>As for the audience\u2019s perception, I believe that the fantastic not only fascinates and intrigues but also invites reflection on the relationship between what we perceive and what we desire.<\/span><\/span>Imagination is, for me, the heart of this work: without dreams and imagination, we cannot create what might one day become reality. It is undoubtedly the most powerful means to bring new creations to life, whether in art or objects, as it is both a sensory and intellectual experience.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

\u201cAlchimie nel Vuoto\u201d offers a profound immersion into Salmistraro\u2019s artistic vision, where the void becomes a starting point for explorations rich in meaning and nuances. The exhibition stands as a unique opportunity for the public to connect with the artist's world, filled with monsters, symbols, and alchemies that invite reflection on one\u2019s identity and the complexities of human nature<\/strong>.<\/p>\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":4,"featured_media":6554,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_it_post_content":"\n\n\n

L\u2019arte di Elena Salmistraro trova la sua espressione pi\u00f9 intima e sperimentale nella mostra \u201cAlchimie nel Vuoto\u201d<\/strong>, curata da Silvana Annicchiarico e ospitata presso la Galleria Antonio Colombo a Milano, dal 28 novembre 2024 all\u20198 febbraio 2025<\/strong>. Attraverso disegni, sculture e opere multimediali, Salmistraro esplora il vuoto non come assenza, ma come spazio fertile per la creazione e la riflessione.<\/p>\n\n\n\n

Nel percorso espositivo, Salmistraro abbraccia la pittura e il disegno per dare vita a una serie di creature simboliche che sfidano l\u2019ordinario, rivelando un mondo interiore complesso e multidimensionale. Le opere giocano con il contrasto tra texture, colori e forme, trasformando lo spazio in un luogo dove il visitatore \u00e8 invitato a esplorare il proprio immaginario.<\/p>\n\n\n\n

Silvana Annicchiarico, la curatrice, descrive la mostra come un \u201cdialogo tra opposti\u201d in cui vuoto e pieno si fondono per creare alchimie nuove e intriganti\u200b.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

In un dialogo con Elena Salmistraro abbiamo approfondito il significato della mostra e il suo percorso artistico<\/strong>. Alla domanda come si inserisce \"Alchimie nel Vuoto\" nel suo percorso professionale e come ha ispirato questa esplorazione del concetto di vuoto, ha risposto:<\/p>\n\n\n\n

\u00abSono sempre stata riluttante nel mostrare i miei disegni pi\u00f9 intimi, quelle opere nate da un bisogno interiore, distanti dalle richieste commerciali che caratterizzano il mio lavoro. La pittura, tuttavia, mi ha sempre accompagnato perch\u00e9, come ho spesso detto, rappresenta per me un momento di sfogo, un'occasione di analisi interiore e ricerca. Disegnando riesco a esplorare a fondo le cose, a visualizzarle e, in qualche modo, a esorcizzarle. Quando Colombo mi ha chiesto se fossi disposta a mostrare anche questo lato di me, una parte che forse finora \u00e8 rimasta implicita e mai rivelata, ho pensato: perch\u00e9 no? Era arrivato il momento. I disegni e gli spunti di riflessione erano moltissimi, ma grazie all'occhio attento di Silvana Annicchiarico, la curatrice, ho trovato una direzione. Il suo sguardo esterno \u00e8 stato fondamentale per individuare il tema da esplorare: le paure, i mostri, il vuoto. Cos\u00ec \u00e8 nata \u201cAlchimie nel Vuoto\u201d, un'altra parte di me, diversa ma complementare. Probabilmente rappresenta l'origine di tutto, quell'indagine interiore che genera forme, visioni e idee, e che, attraverso numerosi passaggi, prende vita negli oggetti e nelle forme che caratterizzano il mio lavoro.\u00bb<\/em><\/p>\n\n\n\n

Da sempre il lavoro della Salmistraro \u00e8 contraddistinto da un segno grafico illustrato molto riconoscibile<\/strong> che ha saputo tradurre anche nello sviluppo di prodotti e allestimenti. Riguardo al suo sviluppo professionale e ci\u00f2 che possiamo aspettarci in futuro<\/strong> ha spiegato:<\/p>\n\n\n\n

\u00abIl mio percorso \u00e8 una continua evoluzione, senza limiti imposti. Ho studiato arte al liceo, moda e design all\u2019universit\u00e0, e sono affascinata dall\u2019illustrazione e dalla street art. Questi interessi hanno modellato il mio lavoro nel corso degli anni. Non credo di aver inventato nulla di nuovo, ma ho selezionato, mescolato, indagato e reinterpretato le mie passioni, cercando di farlo a modo mio, con un linguaggio personale. Forse \u00e8 proprio questo mio approccio ibrido, al confine tra le varie discipline, che mi ha permesso di esplorare e rielaborare codici e aspetti in modo del tutto naturale, guidata solo dal piacere e dalla passione per ci\u00f2 che faccio. Se dovessi dire oggi cosa far\u00f2 domani, risponderei che sar\u00e0 ci\u00f2 che mi stimola di pi\u00f9, perch\u00e9 la monotonia della ripetizione \u00e8 ci\u00f2 che temo di pi\u00f9. Sebbene nella vita io sia una persona piuttosto metodica e abitudinaria, nel lavoro ho bisogno di affrontare sempre nuove sfide, mantenendo s\u00ec un linguaggio coerente, ma trovando modi sempre nuovi per esprimerlo.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Il suo stile visivo \u00e8 spesso definito da un uso audace di colori, texture e forme organiche<\/strong>. Al come riesce a mantenere un equilibrio tra complessit\u00e0 e armonia<\/strong> nelle sue opere ci ha indicato:<\/p>\n\n\n\n

\u00abCredo che il merito vada proprio al disegno e alla pittura. Trovarsi di fronte a una tela bianca, quel vuoto, spesso incute una sorta di timore, un horror vacui che deve essere affrontato e bilanciato. Con il tempo, ho imparato a gestire forme e volumi all'interno di uno spazio ben definito, i cosiddetti 'pesi della composizione'. Questo aspetto mi ha sempre affascinato e ho scoperto che \u00e8 universalmente valido quando si parla di composizione e progettazione. La collocazione precisa di una linea o la scala corretta di una seduta sono processi molto pi\u00f9 simili tra loro di quanto si pensi. Negli anni, questo \u00e8 diventato anche una sfida con me stessa, iniziando a sovrapporre sempre pi\u00f9 elementi e vari livelli di lettura. In fondo \u00e8 un gioco, un gioco serio. Lo stesso vale per i colori, che hanno un ruolo fondamentale nel mio lavoro. Quando dipingo, ad esempio, \u00e8 raro che usi i colori cos\u00ec come li trovo in commercio; solitamente li ricreo, li mischio per dar vita a nuove tonalit\u00e0, saturazioni e vibrazioni. Per gestire al meglio i colori di questa collezione, ho dovuto catalogare e numerare tutte le tonalit\u00e0 che ho creato, ed \u00e8 stato un lavoro molto complesso.\u00bb<\/em><\/p>\n\n\n\n

La figura della maschera<\/strong> sembra avere un ruolo simbolico ricorrente nel suo lavoro, come vediamo anche nell'opera \u201cLa Maschera d\u2019Oro\u201d. Sul significato che ha la maschera, come si \u00e8 evoluta nel suo percorso creativo di elemento fantastico,<\/strong> e come pensa che influenzi la percezione del pubblico,<\/strong> ha risposto:<\/p>\n\n\n\n

\u00abLe maschere mi hanno sempre affascinata, perch\u00e9 le considero simboli di cambiamento e protezione. Inizialmente mi colpivano per il loro valore estetico, ma in questo dipinto ho voluto usarle come un filtro per esplorare l'identit\u00e0 e il mistero che si nasconde dietro le persone, sottolineando la complessit\u00e0 dell'essere umano e le sue sfaccettature.  La maschera acquista cos\u00ec un significato pi\u00f9 profondo, diventando un ponte tra il visibile e l'invisibile, tra il terreno e il divino. Ovviamente l'elemento fantastico gioca un ruolo centrale, perch\u00e9 solo grazie alla fantasia \u00e8 possibile superare la realt\u00e0 quotidiana e immaginare scenari futuri. Inoltre nella pittura, rispetto al design, questo elemento mi permette di esprimermi con maggiore libert\u00e0, indagando uno spazio dove le regole della realt\u00e0 sono sospese e tutto diventa possibile. Per quanto riguarda la percezione del pubblico, credo che il fantastico non solo affascini e incuriosisca, ma inviti anche a riflettere sul rapporto tra ci\u00f2 che percepiamo e ci\u00f2 che desideriamo.  La fantasia \u00e8 per me il cuore di questo lavoro: senza sogni e immaginazione, non possiamo creare ci\u00f2 che un giorno potrebbe diventare realt\u00e0. \u00c8 senza dubbio il mezzo pi\u00f9 potente per dar vita a nuove creazioni, che si tratti di arte o di oggetti, \u00e8 un'esperienza sia sensoriale che intellettuale.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

\u201cAlchimie nel Vuoto\u201d offre un\u2019immersione profonda nella visione artistica di Salmistraro, dove il vuoto diventa il punto di partenza per esplorazioni ricche di significato e sfumature. La mostra si afferma come un\u2019occasione unica per il pubblico di avvicinarsi al mondo dell\u2019artista tra mostri, simboli e alchimie che invitano a riflettere sulla propria identit\u00e0 e sulle complessit\u00e0 della natura umana<\/strong>.<\/p>\n","_it_post_name":"alchimie-nel-vuoto-di-elena-salmistraro","_it_post_excerpt":"","_it_post_title":"\"Alchimie nel Vuoto\" di Elena Salmistraro","_en_post_content":"\n\n\n

Elena Salmistraro\u2019s art finds its most intimate and experimental expression in the exhibition \u201cAlchimie nel Vuoto\u201d<\/strong>, curated by Silvana Annicchiarico and hosted at the Antonio Colombo Gallery in Milan from 28 November 2024 to 8 February 2025<\/strong>. Through drawings, sculptures, and multimedia works, Salmistraro explores the void not as emptiness, but as fertile ground for creation and reflection.<\/p>\n\n\n\n

In the exhibition, Salmistraro embraces painting and drawing to bring forth a series of symbolic creatures that challenge the ordinary, revealing a complex and multidimensional inner world. Her works play with contrasts of textures, colours, and forms, transforming the space into a setting where visitors are invited to explore their own imaginations.<\/p>\n\n\n\n

Silvana Annicchiarico, the curator, describes the exhibition as a \u201cdialogue between opposites\u201d where void and fullness merge to create new and intriguing alchemies.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

In a conversation with Elena Salmistraro, we delved into the significance of the exhibition and her artistic journey<\/strong>. When asked how \u201cAlchimie nel Vuoto\u201d fits into her professional and artistic path and what inspired this exploration of the concept of the void, she responded:<\/p>\n\n\n\n

\u00abI\u2019ve always been reluctant to share my most intimate drawings, those works born from an inner need, separate from the commercial demands that define much of my work. However, painting has always been a source of release for me, a chance for inner analysis and research. Drawing allows me to explore things in depth, to visualise them, and in some way to exorcise them. <\/span><\/span>When Colombo asked me if I would be willing to show this side of myself, a part that has perhaps remained implicit and never revealed until now, I thought: why not? The time had come.<\/span><\/span>There were so many sketches and reflections, but thanks to the careful eye of Silvana Annicchiarico, the curator, I found a direction. Her external perspective was crucial in identifying the theme to explore: fears, monsters, the void. <\/span><\/span>Thus was born \u201cAlchimie nel Vuoto\u201d, another part of me, different yet complementary. It probably represents the origin of everything, that inner exploration that generates forms, visions, and ideas, and that, through numerous stages, takes shape in the objects and forms that define my work.\u00bb<\/em><\/p>\n\n\n\n

Salmistraro\u2019s work is known for its highly recognisable illustrative graphic style<\/strong>, which she has skillfully translated into the development of products and installations. Reflecting on her professional development and what we can expect in the future<\/strong>, she explained:<\/p>\n\n\n\n

\u00abMy journey is one of constant evolution, without imposed limits. I studied art at secondary school, fashion and design at university, and I am fascinated by illustration and street art. These interests have shaped my work over the years. <\/span><\/span>I don\u2019t believe I\u2019ve invented anything new, but I\u2019ve selected, blended, investigated, and reinterpreted my passions, trying to do it my way, with a personal language. Perhaps it\u2019s this hybrid approach, straddling various disciplines, that has allowed me to explore and rework codes and aspects in a natural way, guided only by the pleasure and passion for what I do. <\/span><\/span>If I had to say what I will do tomorrow, I would reply that it will be whatever stimulates me the most, because monotony is what I fear the most. <\/span><\/span>Although I am quite methodical and habitual in my personal life, in my work I always need to face new challenges, keeping a consistent language but finding new ways to express it.\u00bb<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Her visual style is often defined by bold use of colours, textures, and organic forms<\/strong>. When asked how she manages to balance complexity and harmony<\/strong> in her work, she indicated:<\/p>\n\n\n\n

\u00abI believe the credit goes to drawing and painting. Facing a blank canvas, that void, often induces a kind of fear, a horror vacui that must be confronted and balanced. Over time, I have learned to manage shapes and volumes within a well-defined space, the so-called 'composition weights'. This aspect has always fascinated me, and I discovered that it\u2019s universally valid when it comes to composition and design. The precise placement of a line or the correct scale of a seat are much more similar processes than one might think. <\/span>Over the years, this has also become a challenge with myself, starting to layer more and more elements and various levels of interpretation. In the end, it\u2019s a game\u2014a serious game. <\/span><\/span>The same goes for colours, which play a fundamental role in my work. When I paint, for example, I rarely use colours as they are found in stores; I usually recreate them, mix them to produce new shades, saturations, and vibrations. To manage the colours in this collection effectively, I had to catalogue and number all the shades I created, and it was a very complex job.\u00bb<\/em><\/p>\n\n\n\n

The motif of the mask <\/strong>seems to hold a recurring symbolic role in her work, as we see in the piece \u201cLa Maschera d\u2019Oro\u201d. Regarding the significance of the mask, how it has evolved in his creative journey as a fantastic element<\/strong>, and how he thinks it influences the public's perception, she replied:<\/p>\n\n\n\n

\u00abMasks have always fascinated me because I consider them symbols of change and protection. Initially, I was drawn to them for their aesthetic value, but in this painting, I wanted to use them as a filter to explore identity and the mystery hidden behind people, highlighting the complexity of the human being and its facets. <\/span><\/span>The mask thus takes on a deeper meaning, becoming a bridge between the visible and the invisible, between the earthly and the divine. <\/span><\/span>Of course, the fantastic element plays a central role, because only through imagination is it possible to transcend everyday reality and envision future scenarios.<\/span><\/span>In painting, as opposed to design, this element allows me to express myself with greater freedom, exploring a space where the rules of reality are suspended and anything becomes possible. <\/span><\/span>As for the audience\u2019s perception, I believe that the fantastic not only fascinates and intrigues but also invites reflection on the relationship between what we perceive and what we desire.<\/span><\/span>Imagination is, for me, the heart of this work: without dreams and imagination, we cannot create what might one day become reality. It is undoubtedly the most powerful means to bring new creations to life, whether in art or objects, as it is both a sensory and intellectual experience.\u00bb<\/em><\/p>\n\n\n\n

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\u201cAlchimie nel Vuoto\u201d offers a profound immersion into Salmistraro\u2019s artistic vision, where the void becomes a starting point for explorations rich in meaning and nuances. The exhibition stands as a unique opportunity for the public to connect with the artist's world, filled with monsters, symbols, and alchemies that invite reflection on one\u2019s identity and the complexities of human nature<\/strong>.<\/p>\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"\"Alchimie nel Vuoto\" by Elena Salmistraro","edit_language":"en","footnotes":""},"categories":[874],"tags":[903,935,981,964],"class_list":["post-6523","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mostre","tag-arte-contemporanea","tag-design","tag-grafica","tag-illustrazione"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/6523"}],"collection":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/comments?post=6523"}],"version-history":[{"count":34,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/6523\/revisions"}],"predecessor-version":[{"id":6614,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/6523\/revisions\/6614"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media\/6554"}],"wp:attachment":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media?parent=6523"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/categories?post=6523"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/tags?post=6523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}