source: casino-luxembourg
Letizia Romanini est avant tout une collectionneuse – une voyageuse attentive aux petits détails de la vie quotidienne. Galleggianti se compose de bouts de bois récupérés dans les jardins de la Seille. Peints en phosphorescent, ils flottent tel une constellation à la surface de l’eau. La passerelle du Graouilly permet d’observer une chorégraphie aléatoire rythmée par le courant. Ainsi, les quartiers de Queuleu et du Sablon sont reliés temporairement par une écriture graphique luisante. Une collection de formes mobiles appartenant à une famille de semblables. Les bouts de bois luminescent font échos aux flotteurs des pêcheurs utilisés comme points de repères. Ici, la multitude devient absurde et inutile. Ce projet transforme la vision que l’on peut avoir d’un objet par la multiplication et la profusion de celui-ci.
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source: ceaac

Letizia Romanini

“I have always been fascinated by and deeply curious about textile materials and fibres. Indeed, this is why, after my undergraduate degree in visual arts, I decided to take the Object option in the supple materials studio (formerly the textiles studio) offered by the Strasbourg School of Arts and Design.

The thing that my works have in common is thread. Iron, cotton, wool or filigree materials like hair. Thread often becomes a pretext and an engine driving the creation of new pieces. The repetitive, mechanical gesture is another recurring element in my work. It seems to establish itself in accord with the materials that I use and the transformations that I want to impose on them.”

Letizia Romanini

“The work of Letizia Romanini is a to-and-fro between a thing and its opposite, between the wonder and horror that the day-to-day may inspire in us. Therefore, her spatial installations using threads seem to float in space, pick up and extend rays of light, but also block the way through, collide with the body, divide and compress the space. The repetitive gestures behind all her works may make us think of tedious production-line work, but in reality appease the artist : they create, in her own words, an “auditory ballet” and give birth to profoundly tactile images. She offsets industrial production-line work with meticulous craft full of attention for which the sense of touch is essential.”

Isabelle Henrion