Fausta Squatriti. Memento mori

The Gallery Weber & Weber presents recent work by Fausta Squatriti figure known for the breadth of its range of expression led since its inception in the early 60's, with a staff cross-sectional research that engages both the visual arts and in writing of which you are interested such masters as Dorfles and Giulio Carlo Argan, and critics of the younger generations.
This time it's the art historian Dieter Ronte writing about this exhibition "Memento mori", which exposes the works of the past four years, expressed in three thematic cycles. Riccarda Turrina through an extensive interview with the artist, explores some reasons and ways that lead Squatriti, for over fifty years, in a total research, that even taking into account what is happening in the art world in recent decades, it differs when there however.
In the late '80s, the artist from a major turning point in his research, based on the formal rigor of geometry, and begins a surprising development, both thematic and formal. It now uses a complex compositional diptychs, triptychs, installations, which combine surface and volume through the use of photography, abstract signs, and three-dimensional objects, united by the need to put his finger on the contradiction, but also balance, which governs life in creation, expressed in the sense of the tragic, as the ultimate destiny of existence.
His passion for the original structure at the base of the sculptures of the '80s, with mutated formal values??, leads to unforeseen results of an icy staging that escapes from the dangers of the story and the moral judgment. Squatriti notes, laid bare, with clarity imbued with piety, without the excess narrative of the drama.
Another trait that links research to the current Squatriti unaware of his early adolescence, is the return to the drawing, an old passion and skill, abandoned in the rigor. For years the artist has picked up the pencil, drawing amazing flowers suspects in their smallest anatomical details, making it a sort of autopsy.
But now upped the ante with two cosmogonies large, which gave the title of Memento Mori. The dense flower, fresh, withered, rotting, dried, tangled in each other, designed with only pencil in a masterly way, he tells us of the beauty, encouragement necessary for introducing the same artist and the viewer in the heart of an allegory of death fragility, corruption, decay of all that, for a stretch of time, is alive and changing, intended to leave, even when humble as a deviation, an imprint of his existence.
On this issue also engages the complex as moving book in memory of the artist, created by taking advantage of the documents that have recently emerged concerning the incarceration in "The New" in Turin, Torino 36 Jewish women, many of whom anzianissime, which took place in '43.

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