Art Nature, science and the occult in Rosa Frazzica
Artsculpture

Nature, science and the occult in Rosa Frazzica

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Giorgia Massari

In a few days, specifically on October 12th, the spaces of Milan’s Fabbrica del Vapore will open their doors for the Rea! Art Fair, the much-anticipated event for emerging art not only by the Milanese audience but also from beyond. On this occasion, we would like to introduce you to one of the artists who will be present at the fair with her sculpture Nàladyen. She is Rosa Frazzica (1999) – on Instagram @aplysiae – she lives and works in Como and is currently attending the two-year sculpture program at the Brera Academy of Fine Arts. Her research stems from a fascination with living organisms and their habitats, with a particular focus on the marine dimension. «Oscillating between zoology and anthropology, between organic and artificial, my research aims to translate, through forms and materials, the poetry that binds these worlds, trying to recreate that optimal condition in which each individual particle calibrates itself, adjusts to welcome a generative process,» Rosa tells us.

Looking at Rosa Frazzica’s artistic journey, it’s evident how her research has evolved over time. While there was previously a particular focus on elements such as shells and mollusks, now flora and fauna take center stage. The textures, surfaces, patterns, and structures of the plant and animal world are assimilated by the artist through an eye that doesn’t want to look at reality in its most coherent form but aims to perceive its mystical aspect. The artist herself declares to be fascinated by the sacred and transcendental dimension of things. «In my childhood thinking, I always perceived worship as something magical and prayers as spells. Therefore, the fantasy and science fiction worlds also contribute to the creation of my works, some imaginaries. With my works, I would like to make the oldest worship of all, that of nature, relevant again with a new language

In this sense, the presence of chains, amulets, and, more generally, anthropic elements becomes fundamental. The reference to the artificial sphere and, at the same time, to the religious one reinforces the dialogue created by Frazzica between the natural and the artificial, between science and the occult. Materials also play a crucial role in this context. The textures emulate the natural while using decidedly artificial materials like paraffin, silicone, and 3D printing in plastic and resin. «Silicone gives an idea of skin, body, life, and gel wax, having a gelatinous texture, resembles the interior of an organism, a liquid that contains and preserves,» says the artist. «I think artificial materials characterize our time a lot. In my imagination, it’s as if humans want to reshape the memory of a nature, of a world that no longer exists.»

Despite Rosa Frazzica’s works appearing to come from another dimension, color plays a significant role in terms of sensations. «The color pink prevails in the artist’s sculptures, and she always tries to instill in her works the sense of protection and tranquility that this color can convey,» reads Milena Zanetti‘s curatorial text. In fact, while Frazzica’s forms and realities can create an alienating effect, in a sense, the delicacy of pink guides the viewer, almost suggesting a positive interpretation of the new languages proposed by the Anthropocene.

Courtesy Rosa Frazzica

Artsculpture
Written by Giorgia Massari
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