Page 17 - The MoMA/ Guggenheim issue of World of Art magazine (2001)
P. 17

’s research
         Marco Bernardiis based on
         an  investigation  about  the  physiological  needs  that  bring
         the human being to an artistic creation. Bernardi explores
         anthropology and ethnology in order to find elements and
         symbols that have been not corrupted by time. Man is an
         animal  with  something  more  than  the  others:  he  has  a
         consciousness, he is aware about time which passes by, he
         can  perceives  his  future,  his  death  and  the  decadence  of
         his  own  civilization,  he  can  testifies  his  existence,  he  can
         leaves traces of his own experience.  Bernardi tries to focus
         the results obtained by an “animal specie” which assumes
         consciousness of itself, and underlines its own features leaving
         traces of its passage through time. It could be said that art
         has always been - somehow - the result of this attempt: how
         to get consciousness. Bernardi is aware of this, and through
         his work he tries to find which impulses have brought the
         human being to the invention of an handmade object, or to
         the elaboration of a symbolic abstraction. It has to be said
         that his works are constituted by elements that are easy to be
         red: holes, lines, hands. When someone looks at his sculptures,
         he is immediately involved by something familiar, and - as if
         he is going virtually back through time - he understands the
         richness of such simplicity.
         Assuming the physical needs of body limits as starting point
         for his work, Bernardi points out the steps that have brought
         mankind to the complexity of our actual language, in order to
         re-create an idiom comprehensible for everybody because of
         the common physical features. We can not represent mankind
         separated from its own creations, and each creation referrers
         to the previous one. Going back through history, it has to be
         possible to give evidence to the mental passages that has
         transformed  the  physiological  needs  firstly  into  an  object
         and  subsequently  into  a  symbolic  element.  Due  to  those
         facts,  Bernardi  has  chosen  the  vase  as  dominant  icon  of
         his whole work; The vase is an object typically human and
         its function is immutable since ever. The vase it is a sort of
         human extension that needs to bring and carry what is body
         is incapable to contain.
         Bernardi  uses  industrial  resin  to  make  his  sculptures,  but
         he manipulates it in a way that it seems very similar to the
         natural one. Resin is a material similar to glass but warmer
         and less transparent. Resin is opaque, it has always some
         imperfections, and - maybe - it is the closest material to the
         ones that constitute the human being. Resin obliges our eyes
         to focus what is entrapped inside it, something that is often
         mysterious and fascinating.
         finally, we can say that Bernardi tries to elaborate a sort of
         enigma.  If  someone  would  be  able  to  find  the  solution,  it
         would be easy to understand the absolute value of human
         nature that continues to ask its own identity to models too
         much  artificial. The  artist’s  proposal  is  to  begin  a  journey
         throughout the collective subconscious, which preserves the
         historical inheritance of the whole humanity. Nevertheless,
         this  journey  could  be  done  only  with  eyes  free  from  any
         cultural deviance.
                                      ANDREA PAGNEs

            Bugno Art Gallery                                   sAN MARCO 1996/D, IT-30124 VENEZIA ITALY

                                           +39 041 5231305
   12   13   14   15   16   17   18   19   20   21   22