Exhibitions Archive

The collection is inspired by the historical ruffs in use in the Sixteenth century to highlight the beauty and expressiveness of the face. The ancient objects are revisited to celebrate the variety of fruits, where nature and form create colours and beauty. The nature of the fruits is transformed into transparent coloured resins: bright yellows, shiny reds and greens. Foods to wear that become signs of one’s individual inner world, wonderfully unique, searching for a correspondence between reality and elegance of form, festive flavours and creative invention.
ph Silvia Paganino

Silvia Beccaria is a textile designer, she  uses hand-weaving techniques, playing with them in total freedom. With a perfect symbiosis of hands and mind, she breaks the rules and yet is mindful of the heritage of ancient methods. She looks into the past, while expressing herself with the contemporary language of research and experimentation.Fiber – whether it is wool, rubber, paper, metal, or plastic – is the linguistic instrument that allows her to conceive and give birth to the ideas she designs and creates at the loom. After achieving a degree in philosophy and a master in art therapy from Turin’s University, she started studying textile design and specialized in fiber art under the guidance of noted textile artist Martha NieuwenhuijsSilvia designs and produces contemporary jewelry, sculpture-dresses, and tapestries, and takes part in many art exhibitions in Italy and abroad. Her work is showcased in various fiber art permanent collections.

The LUCKY WOMAN, with hot peppers, and the MINISTRE DI VERDURA, a series of women’s busts with vegetables, is the new work of Enrica Campi, in homage to the natural world. The female figure, symbolising the origin of life, is represented as a carrier of food and nourishment, and not only figuratively! Being worn, the food becomes a decorative element.
ph Federica Cioccoloni

Enrica Campi’s fascination with theatre led her to study scenography at the Academy of Fine Arts in Turin and following this she started work with the Teatro Stabile theatre company.
In 2002, she staged her first exhibition about puppet theatre, followed by a long series of solo and group exhibitions dedicated to the world of theatre, to folktales and above all to the female figure.
The variety of materials, such as ceramic, paper, wood and metal used in the poetic sculptures created by Enrica and in her collections including mirrors, checked and patterned vases that have come about following her collaboration with Creativity.

2015, year of the 13 moons
Earth’s Navels are Morigi’s bowls, made on the lathe and then umbonated. As earth’s navels, the umbos reflect all concavities into one another, producing pure light like in a magical kaleidoscope. With their round golden brightness, they also tell of being moons, supervising with their cycle the sprouting and reproducing of planet Earth, through birth and rebirth. Save the planet, theme of the Milan Expo 2015, inspired the artist to emphasize the value and preciousness of food as the one thing needed by all of humanity. Hence the golden bowls, ancestral archetypes and containers, become its metaphor.
ph R. Tassinari

Mirta Morigi
Born in Faenza, after attending the Art Institute of Ceramic G. Ballardini, and after developing her skills as apprentice, then member, and finally as a teacher in different ateliers (botteghe), in 1973 Mirta Morigi opened her own, situated in the yard of the historical Palazzo Barbavara, in the centre of town.
In these last thirty years of swarming activity, the Renaissance structure of the Bottega Morigi has always been a noble place that has hosted "intelligence in the hands". Her ceramics has always represented, having been influenced by the teachings of her most illustrious guest Sir Ernst Gombrich, a happy synthesis between past and future: not a case of imitation, but of emulation of the art of the ancient makers of majolica.
Morigi's sensibility and meticulous attention to the cultivation of a project has given her the ability to bring a cross section of experiences to her craft, and to transform it into a breeding ground for new and different ideas, a workshop open to the interdisciplinary contributions brought by architects, artists, designers, poets and musicians.
Her aptitude for the critical examination regarding project design, and her ability to mold it into a final product, renders the Bottega Morigi a European model to today’s art ateliers. This new "aesthetic factory" churns out objects always characterized by their dignity and material garb, formal grace; without ever giving up her typical "lightheartedness" and conceptual irony. A production that is continually being enriched through the study of new collections, establishing ceramics as a specific "popular and illustrious" language, a border-line genre between sophistica

They are a family of wooden sculpture rings, containing earth and hosting small succulents. The succulents require the participation of the owner in the living process of the handwork. How? By taking care of the plant grafted in the wooden ring! The idea behind the creation of succulents is to shift from possession to participation, since the maintenance of the plant requires the added element of care in the daily life of the owner. No longer an object, the ring becomes a subject, to be occasionally fed with a droplet of water. 
ph A. Collini

Barbara Uderzo, born in Vicenza (Italy) in 1965, lives and works in Creazzo (Vicenza) and Milan. She graduated in Painting from the School of Fine Arts in Venice. In 1990 she attended the first course in Production Assistant and Goldsmith Design at the School of Arts and Crafts in Vicenza, which were followed by gemology, computer design, lost-wax casting and wax modelling of jewels. Her jewels are the result of research and experimentation, a combination of precious materials with wood, plastic paper, wax, but also with edible products such as sugar, gummy candies, chocolate, and ice. Her interest also dwells on creating ephemeral objects in which the conceptual part of the work is the foundation, playfully and ironically she highlights the passage of the project and the user’s reaction. In 2010 she opened her “the blob house”- studio in Milan.

HEAD ...
A series of new characters are born of the Italian puns connecting the word "testa" (head) to the plant world: Testa di Rapa (Turnip Head = bonehead), Zucca Vuota (Empty Pumpkin = empty head), Teste d’Aglio (Garlic Heads), Sale in Zucca (Salt in the Head) and so on. The heads are a homage to the Nineteenth century’s advertising posters, in which fruits and vegetables were turned into caricatures: funny creatures, expressing melancholy and disbelief.
ph Federica Cioccoloni