• Alice Serafino


Alice Serafino

Alice Serafino

Sono solo lune di carta
Alice Serafino

20 October – 20 November 2023
Vernissage: Friday 20 October from 6.00 pm

I am really excited to present Alice Serafino's solo show, fifty unique and original works, entitled Sono solo luna di carta . Ten years after her first exhibition, Little worlds in contact in 2013, Alice returns to tell her story, in our small gallery, with an artistic and intimate retrospective of the last four years, which proposes an unprecedented research in which cyanotype* mixes with collage and watercolor. When I went to her bright studio before the summer I saw so many tests, clippings, projects: before my eyes I had beautiful and different proposals from each other, yet I recognized Alice's immediate poetry in all of them. So from the Wunderkammer of this photogram artist, I have selected five paths.

QB to read both cubes and as much as necessary. Cubes like the colored watercolor backgrounds which, combined with the cutouts of hands, suggest different and possible states of mind to the viewer. Just enough as the ingredient which in the recipes does not require precise weights, leaving the person preparing them free to measure the quantity for a unique and personal taste each time.

Watercolor and collage also define the Prati series , made of long painted blades of grass into which cut-out figures enter with their tireless curiosity, their desire to discover secret gardens and become part of them. And then the Sandman section, a memory and representation of the sleeping man who in Nordic folklore brings happy dreams by sprinkling magical sand into the eyes of children who are about to fall asleep.

The reference to childhood is revealed in the tables of Out of the blue ("suddenly" in English) in which the protagonists are almost all children, favorite interpreters of Alice Serafino's art, who look at the world with the same immediate amazement. The title describes the wonder and dismay felt in the face of an unexpected event: these characters "emerge from the blue" of skies, splashes, puddles and galaxies in which to get lost. «Cyanotype» says Alice «is a simple and very versatile technique with which I have worked very often, designing in detail, with meticulous precision, entire series such as Naturalia, Lune e Bambù and Minuscule. The rigor that characterized my first years of working with cyanotype in the works of Out of the blue has been reduced, leaving room for the impulsiveness and immediacy of the gesture and sometimes even for chance. As in the pure feelings of joy and fun of children, the emotions cannot be contained, the runs in the meadows, the jumping in the puddles and the splashes of water and sand from playing in the waves do not leave even the white margins of the paper indifferent, who in fact remain imbued with it."

Iconic poses of movie stars, bare feet in mid-air, seductive tights and boyish knee-highs : finally here is the Lunatiche series, an ironic yet serious inventory of all the women a woman can be.

«These four years» says Alice speaking of her work «have been a real turning point for me. At the same time as the global events that have overturned collective existence and intimately disturbed individual lives, for personal reasons I went through a long period of alternation between activity and deep introspection. All this could only be reflected in my work. The evolution was physiological. Instead of continuing to catalog the world, my gaze turned inward. As if looking for that tiny spark that, despite everything, courageous and stubborn, continues to shine."

Alice Serafino is a friend and in my opinion an extraordinary artist. When I look at the child jumping in the puddle I see the child portrayed, but also myself as a child who was having fun in the same way. If you want to embrace the profound poetry of these works, you will be confronted with emotions that belong to all of humanity, and which you can interpret according to your very personal feelings.

* Cyanotype is an ancient photographic printing method that exploits the action of two iron salts which, mixed together and brushed on a surface, react to UV rays giving life to the photographic image with the typical Prussian Blue colour.

Biography and awards of Alice Serafino (Pinerolo, 1980)
Alice is a visual artist who works primarily with pre-existing materials (both natural and artificial). He loves old photographs and objects which often become the raw material for his works.
The techniques he mainly uses are cyanotype, photogram, engraving and collage.
After graduating from the Academy of Fine Arts, she continued to deepen her research in the fields of photography, illustration and graphics.
In recent years he has exhibited his works both in Italy (Turin, Genoa, Rome, Cagliari, Milan, Bologna, Venice, Trieste) and abroad (Istanbul, Prague, London, Budapest).
He has won numerous awards and recognitions. In 2018 in February the NICE Paratissima Bologna Award and in November the Art Gallery Paratissima Turin Award. In October 2019 the Be Art Builder Award at the fourth edition of the LYNX International Contemporary Art Award. In February 2021 she was selected among the finalists of the Arte Laguna Prize and her works were exhibited in the spaces of the Arsenale Nord in Venice in October 2021 together with the other finalist works.
The Elena Salamon Arte Moderna has hosted three other solo exhibitions by Alice: the aforementioned Little worlds in contact in 2013, Darkness, light and wonders in 2016 and With the head in the clouds in 2019.
He lives and works in Pinerolo.
View all artworks by Alice Serafino

Original prints (silography, burin, drypoint, etching, aquatint, lithography, serigraphy, etc.) are to be considered proofs pulled in black and color from one or more plates conceived by the artist himself, whatever technique was used to make them. In the 20th century many of the traditional techniques have undergone variations due to the improvement of technology and the artists' desire to experiment with new forms of expression, so that in the original prints we encounter techniques with a photographic or heliographic basis, up to elaborations of images made with the aid of computers. These peculiarities are indicated in the technical sheets of the work. Japanese prints do not follow these rules: the artist would make a drawing on very thin paper, expressly for engraving this would be pasted upside down on the plate, which would then be engraved by the hori-cho (silograph), under the control of the artist. One plate was engraved for each color. Status is a voluntary change to the plate, while variant is an accidental change to the plate or refers to the quality or paper. The quality or beauty of the impression is independent of the state, preservation, rarity, subject, and author (a late proof of last state, if printed with care, may be of high quality; and it is understood that the quality is high or low within the same print run). The adjectives in international use to define quality are, in descending order: superb, splendid, magnificent, beautiful, fair, mediocre, tired, and poor. For modern and contemporary prints, when they are not proofs or undocumented runs but specimens belonging to a print run, in which the first specimen and the last have no difference in quality, these are referred to as "perfect specimens." For Japanese prints, color quality is indicated by the following adjectives in descending order: brilliant, excellent, good, fair, pale. The existence or non-existence of the signature is always mentioned. It should be remembered, however, that this, is of no use either in the certification of authenticity or in attribution. So the attribution of a print to an author, unlike that of a drawing or painting, being imprinted in several copies can be considered, published work and therefore of certain author and documented. For antique and Japanese prints, it is difficult to speak of a print run since they were generally printed according to demand. In addition to the two major divisions, coeval and late, prints were printed at different times according to demand. A current edition means a large print run, sometimes over a thousand copies, desired by the author and publisher, often as an out-of-text table in books or art magazines. Not are to be considered artistically minor works; many have had a parallel luxury edition. Rarity is due either to the few impressions made, or to the law of supply-demand, and still the quality of preservation is indicated by the following phrases in descending order: in exceptional state of preservation, in perfect state of preservation (except...), in good state of preservation (except...). Margins are classified as follows: very thin up to 1 mm, thin from 1 to 2 mm, small from 2 to 4 mm.good from 4 to 15 mm, wide over 15 mm, intact is a sheet that retains the measurements in which it was made or printed, with editorial meaning a sheet that has been marketed without margins or with a precise paper size chosen by the artist in consultation with the publisher. The measurements are all in millimeters, height to base, refer for cable prints (etchings, burins,...) to the copperplate impression, for silographs to the marginal line and, in the absence of these, to the sheet, for lithographs and serigraphs refer to the image and not to the sheet. Sometimes catalogs raisonné report slightly different measurements, this may depend on the measuring criteria or the elasticity of the paper which, depending on the temperature/humidity of the environments in which it was stored or the pressure of the press, shrinks or widens. The authenticity of the original prints and their correspondence to the characteristics described in our "declaration of authenticity" will be issued upon purchase of each work.