VITTORIO SGARBI
Patrizia Murazzano is a precise and determined sculptress in realizing objective abstractions, which with their presence impose a strong visual dynamism. This young artist dedicates herself to her research combining geometric variations, which offer to the space with an extremely elegant opening. Sometimes it is important for an artist be of real school, and that nothing is left to chance in her research work. In the architecture section of the Liceo Artistico in Rome, Murazzano has well learned what constructive logic and formal rigor are. Overcoming the misunderstanding of modeling, which perhaps already in the years of apprenticeship no longer corresponds to its concept of expressive truth of form, it has come, little by little, to pure abstraction, opting for the use of modern technological materials, and for the composition of forms in unstable equilibrium, soaring in an airy motion that defies physical laws. An experimenter with an extraordinary capacity for resolutive inventions by contrast in space, with a language purified of approximations and decorative temptations, she first created bas-reliefs in clay. The material texture expands over a two-dimensional horizon of reliefs, presenting a rough epidermical appearance. The masses are marked on the surface by mysterious signs, executed according to a vertical directive, in an agreement of abstract forms that sometimes emerge from the plane, and that sometimes lock themselves up in a wise game of instability. Her training is completed, as we have already seen, through the inevitable stages of a profession that has progressively evolved into that of research, where the study of the relationships between form and space has become prominent. After the expressive physicality of the Clay, Murazzano has turned to bronze with the construction of works in vertical completely abstract, where clarity and formal purity predominate, and where the chromatic resonances of the coated material propose a carefully composed and strictly anti-rhetorical order. Patrizia Murazzano also used a filiform iron by bending it, reducing it to an emblem and therefore a bearer of a laconic message, which outlines dialectical spaces between light and shadow. The sculptress exhibits here a very personal synthesis of deliberate instability, and even visually deceptive. With her first beautiful plastic compositions in plaster and patinated bronze, the sculptress looked at the informal expression of the second post-war period. In the more recent works where Murazzano alternates specular PVC with iron, the discourse on sculpture as a non-stable body on a fixed basis - in a condition, therefore, of imbalance and optical illusions that the reflected light amplifies in evanescences - has assigned the peremptory meaning of a style statement. In fact, these are constructions that are placed in a luminous void, which affirm a message of purification without compromise, a sort of challenge to empty horror that torments our present attacked by images, a response of silence to the chattering space that we receive from the world.
CLIZIA ORLANDO
Still abstract correspondences are revealed in the marbles of Patrizia Murazzano. The young sculptress succeeds with surprising eloquence in creating an authentic correspondence between "idea" and "matter". From this agitated synaesthesia it results a result of essential formal purity that plays on the intersection and hovering of plans. The clean and polished surfaces are arranged in space with an intonation of suffused lyricism, a song that is freed up to make perceptible that breath of mystery that reveals thought beyond the horizons of the material. The harmonious conversation that takes place between the work and the environment raises the same from the weight of gravity, in a thrust of hermetic impulse, where in the rigorous unfolding of the profiles an essential and meaningful composition dynamic takes shape. Light swiftly runs on the pure synthesis of the volumes going to strike balances between dilated and relaxed planes, an emotional vehicle for new paths of knowledge of paradigmatic incisiveness.
DAVIDE ORLANDI DORMINO
Play with subtle emotional balances, but it is a game with serious rules, in its search nothing is left to chance, even instability. In his sculptures the verticality always dominates the horizon, in continuous ascent towards that physical and moral balance that fills the lungs.
NICOLA CARRINO
Sculpture has always been in the three-dimensional reality of making art, in connection with the collocation space. The recent installation indications have therefore operated as an "intervention" in the relationship to the environmental space, extending the concept of design destiny to the practicability of the architectural and urban context, as defined by "site specific". Such an orientation, still found in the works reviewed, for the purposes of the second exhibition of the 2005 Young Sculpture Award, provided adequate indications for the choice of four artists, notwithstanding the three proposed by the competition announcement. Objective orientation in the primacy of patterns of plastic components integrated in the environmental space, individually rendered in variety of shape and method of construction. .... Of the Four, Patrizia Murazzano contrasts volumes of bronze and stone with more complex compositions of geometric planes in aluminum and glass, variously superimposed and directed. ..... The particularity of the exhibition site, along the Borromini Ramp, has worked for the four chosen, to move freely, arranging their own installation project in sequence. It follows a unitable path.
PAOLO LEVI
Patrizia Murazzano is an informal abstract sculptress, without remors and regrets towards figuration. It all started about fifteen years ago. Facing a bas-relief that reproduces the image of a "horse and rider" of Fidia, she paused on a detail, isolated it from the context, and obtained a study of the volumetric relations and the shape of the triangle. The result of this elaboration is realized in a plastic structure of great linear purity. It was a lucky event, because today the Murazzano is a refined researcher of the form and an experimenter of the matter and transmitted to the observer the sense of a clear poetic, realized through the noble static nature of his creations. It is she herself who confesses that the choice of materials occurs, for the most part, from the attraction that their scent and their skin arouse in her. Her research then takes place through a slowly elaborated meditation. In its mental predisposition the dominant criterion concerns the encumbrance in space, so the choice of the material is based on the location that has been foreseen for his work. Thus the black marble of Belgium was used to be placed in an aseptic place, in order to emphasize the neutrality of the space with the shady presence of black marble. In the same way, the crystal was destined to create optical effects that reveal the internal paths of three-dimensionality. For Patrizia Murazzano, space has a function of neutrality, and is made to welcome and exalt the harmonies of materials without distraction: lightness with crystal, immanent heaviness with black marble, or the energy-rich heat of steel and iron. Working with lucid clarity, instinct and reason collaborate in her in a happy synthesis: the relationship between the idea and the definitive form is in fact specified by a rigorous geometric order, by an epidermic sensibility for the color and for the substance of the matter. These abstract masses that tend to structural perfection, offer an intense game of purity and linearity, where everything is based on the balance of optical sensibility, which does not give space to chance. Iron, steel, crystal, marble, everything seems to live in a happy autonomy, where the lack of pathos is not synonymous with coldness, but with purified spirituality, with a metaphysical drive towards assumption and purity. The volumes of Patrizia Murazzano interact with the space and complete it, rather than fill it, with oblique upward tensions or with vibrations facing a horizon where nothing is allowed to appearances. It is a sculpture resolved into lines of force that exalt the motifs of an abstract architectural narrative, where matter transmits a stupefied cleanliness. The variation and growth of plane geometries, which intersect in often paradoxical constructions from the point of view of statics, represents the stylistic code of a conscious authoress and bearer of strong ethical and aesthetic demands. In the becoming of his work the artist is involved in the tension of finding a synthesis that is not only a phenomenon in itself and exclusively exhaustible in the plastic form reached; rather, the disturbing immanence persists everywhere, as it refers to previous experiences, in a continuous process where experimentation on the fabric of matter responds to the constant need to give the finished work a sense of sweet tactility. In his art, so nobly expressed and sought after, the pleasure of tightrope walking is also evident: using slabs of different materials, placing them in horizontal or vertical positions, brings them together and separates them, in a skillful play of thrusts and counter-thrusts to describe a static instability, which warns us of the precariousness of space and time, and of continuous risk of a chaotic fall. A beautiful game therefore, which belongs to it as an existential component, as well as poetics.
ROBERTO GIRARDI
In every person there is a need for actions, gestures or rites, to externalize one's self by performing acts that satisfy it, such as singing, reading, or, as in the case of Murazzano, elaborating through sculpture.They are behaviors that in a certain sense reassure us, that make it more bearable to face life in general or to support stressful situations. The need to elaborate the material as an expressive form through the manipulation of the substance is certainly what Patrizia Murazzano carries out with great passion to deepen her existence and to satisfy her instincts. The geometry and the mathematics that accompany the works, ensure the works a severe but reassuring aspect, as well as knowing that 2 plus two makes four! The works are asymmetric and often have the connotation of presenting the first and third sides equally, in addition to the precariousness of the structure that seems to be caught between imagination, reality and cosmic space. The symbol of the pyramid also, as an archetype of the triangle between physical space and symbolic space, gives the works the right aggregating to make us jump in an almost incredulous admiration for how such an amalgam seems to be the result of a complicated mathematical operation, even if the After all, art is nothing but “the unexpected meeting of shapes, spaces and colors that were previously ignored.
TOMMASO CASCELLA
..... What happens in space if the David monolith is sliced? If it is dissected? Here is the work of Patrizia Murazzano where the plans slide along other floors starting from the initial geometry of the monolith. Here the surprises are endless and new volumes are opened, territories of a universe that thought closed in its hermetic initial geometry. Movements of planes, overlaps, plays of light, perfect balance and indicative of all the paths and possibilities of space. .....
