Chivilcoy, Argentina, 1978.
Currently, my aesthetic pursuit draws heavily from the research on functionalism and the fusion of the artistic and the decorative into a total art that the Bauhaus so radically raised to our contemporaneity.
In this sense, several of my artworks draw compositions that refer to certain formal aspects of modern architecture and design in combination and contrast with various forms and materialities. In the form of sculptural installations or ensembles, some of them may suggest an accessory utility, a spare architecture, and, combined with their arrangement in a given space, may evoke or simulate interiors, environments, or potentially habitable spaces.
I have been exploring specific perceptual contrasts: soft vs. hard, straight vs. curved, opaque vs. transparent, to name a few. In this way, I am projecting a series of works with structural parts and pure geometric forms, rigid bodies in dialogue with soft, flexible materials, exploring the peculiarities and qualities of each material.
Linking the material substance of a rock, a tree trunk, an amorphous organic mass with industrialized objects such as metal and glass, as well as its transformation according to behaviors and attitudes, like pressure, tension/suspension between them.
These would be shaped with basic geometric elements, linear and planar metal, glass, and wood structural forms, as well as soft materials such as fabric, clay, cables/ropes most pristine bodies like logs, rocks, etc.
Marcolina Dipierro, Untitled, Stainless steel, aluminum, chains, enamel, 59 x 7.87 x 3.15 in, 2019
Marcolina Dipierro, Untitled, Stainless steel, silk 2018
Marcolina Dipierro, Untitled, Stainless steel 9.84 x 98.4 x 25.2 in, 2019
Marcolina Dipierro, Untitled, Stainless steel, aluminum, chains,enamel, 9.84 x 31.5 x 9.84 in, 2019