Fabrizio Prevedello. Mani

z2o Sara Zanin is pleased to present Mani, the first solo exhibition in the gallery by Fabrizio Prevedello, accompanied by a critical text by Antonio Grulli, on Saturday 24 September.
The research of Fabrizio Prevedello (Padua, 1972), which has long been aimed at investigating the landscape and the relationship with it, develops from a wide range of materials - recycled marble, slate, onyx but also reinforced concrete, glass, and chalk - often taken directly from the landscape, that of the Apuan Alps, where the artist has chosen to reside. Prevedello approach to sculpture is nourished by the suggestions of a past updated through an intuition consciously aimed at the reconfiguration of space and, with it, the perception of the places we pass through.

For Prevedello, landscape and architecture intertwine a singular relationship in which the symbolic connotations of a nature to be understood as Genius Loci appears. Many sculptures are born from fragments collected in the places that the artist walks through; the fragments are combined, assembled, or isolated, in structures made with building materials, such as reinforced concrete and iron, giving life to unexpected combinations of elements that inhabit the space. The dialogue between industrial materials and natural elements is thus achieved through a balance, constantly remodeled by power relationships, which gives life to a research aimed at the space and the viewer.
The title chosen for the exhibition, Mani, explicitly redirects towards a horizon in which the lowering of the gaze, turned towards the extremities of the limbs, brings the human presence back to the center of the discourse and, with it, the attention towards that demiurgic industriousness that makes every living being the privileged means for a new approach to the gaze.
For Prevedello, sculpture becomes a device that reconfigures the vision of a place: this is how, for example, Cerchio (243), a wall sculpture in iron, marble and glass, opens the exhibition presenting itself as a real device of seeing, a space, circumscribed by a circle created by the superposition of three polygons, which ideally suggests a window / porthole in front or behind which we are placed for a privileged observation of what surrounds us. Cerchio is also a landscape which, like the Albertian window, suggests a depth given by the different stratifications of the glass plates. The space, so central in the reflection on sculpture, in these works is thus constructed by juxtaposition of elements of different solidity, at the same time fragile and resistant, ephemeral, apparently precarious, able to visualize the interrelation between physical and mental narrative.