“Genesi” / Alda Marina Iacoianni
Curated by Enrico Mattei
15 June – 5 September, 2021
Battistero del Duomo
Via Garibaldi
Pietrasanta (LU), Italy
Pietrasanta on commission of the curator Enrico Mattei choosing, for the summer season of 2021,
the artist Alda Marina Iacoianni with her art piece in marble Genesi.
something out of context, but that of inserting or giving a counterpoint of the original plot of what
art itself is and its transformations through time. The Baptistery is considered a small treasure
chest, it was built in the 17th century, originally as the Oratory of Saint Hyacinth of Poland, and
subsequently in 1786 it was transformed in Baptistery of the Collegiate Church of Saint MarWn on
behalf of Leopold of Hasburg Lorraine and still to the day, it carries out its liturgic functions.
Alda Marina Iacoianni (1986) inserts an evocative value to this place of worship, that in exchange
interacts with the piece of art, her research is very interesting because it belongs to a category of
introspections that aren’t superfluous or hasty, but rather, so profound and informed that it
requires a certain level of culture and knowledge to be able to move through the depths of the
references, citations and connections that the artist brings together.
The artist looks for imperfections and the coalescence of form. This is one of the cardinal reasons
why the “splitting” is conceived as a starting ritual, before gaining its shape, the desire to come
into contact with the raw material mixed with the unpredictability of the incontrollable and
random development of piece of art. The Splitting isn’t seen as a wound but as a crevice that
becomes a concrete mark of vitality, the part that generates the inner ma<er and connects.
Her sculpture is a message of love and of positive energy. It shows us in full light, and in its full
sensuality, the truth laid bare by discovery of its original organic belonging to the timeless
dynamics of the universe. The art piece isn’t limited by its shape, but rather its goal is to
overpower it, entering into a direct relationship with the observer, the piece poses in an
interrogative light. An imperfect geometry where the crevices gives the piece a pulsating liveness,
and the most utilised elements found are soft and strict shapes. The integration between soft and
strict gives birth to a new spacial concept that no longer derives from the initial two. The sculpture
gives a spacial expansion above and beyond, reconnecting to hope, desires and to the project that
man himself has in finding the right balance between opposite poles.
The piece is articulated by a first degree of randomness towards the splitting of the used material,
the action itself anticipates the creative process and permits the artist to reinvent each time;
dexterity becomes an indispensable tool from the start of the process and then disappears thanks
to use of new technology. The use of a mechanical means brings into the art work a deep fusion between an ideal culture and the raw material itself, the artist becomes philosopher, designer and
executor. The great illusion of man is that of waiting to answer those enigmas that have never
been solved.