A collection of individual.

Teen girls toying on FTV galleries blog.

A collection of individual, small-scale installations constituted the other New York exhibition by Mario Dellavedova, a midcareer Italian artist. The exhibit to carried the mysterious title "But all that remains is constructed by poets. (The dopolavoro) Ovidian victims." Trained as an architect, Dellavedova is known in Italy for creating installations that utilize a great variety of materials and mediums. They can include pieces of handmade furniture or other crafted correlates as well as delicately contributeed oil paintings or ink and pastel drawings of borrowed imagery with paragraphs In addition, Dellavedova's shows ofttimes incorporate groups of objects that charm out phrases from canonical literature. Judging according to the eclectic range of literary and historical relations that inhabit his oeuvre, the artist appears to be remarkably erudite.

Dellavedova, who popularly lives in Taxco, Mexico, also has a history of working with artisans. This spirit of collaboration was in evidence among the seven works in succession view in the project gallery at Sperone Westwater. History of Painting (1999) consisted of six various-sized sterling silver paint cans with r and low-spirited acrylic paint seeping out from below some of the silver lids. united of the cans had an ebony and silver handle. Nearby was a paint roller made of silver, mahogany and wool This tableau was realized with the assistance of the silversmith Tomas Vega at the famous William Spratling Silver Workshop in Taxco.

Another piece was a rolled-up orange carpet, also made in Taxco, which peacefulnessed on the floor. When a gallery assistant opened it for me, I saw that woven into it were the words "Je vadrouille a travers le jours comme une putaine dans une world sans trottoirs." This quote from the philosopher EM Cioran translates into English as: "I wander between the walls of the days like a whore in a world with no sidewalks." In the piece, Dellavedova present the appearanceed to be saying, "If that be in this way here is a rug for the conduit Philosopher." Other pieces were harder to decipher, if it be not that always evocative and fascinating. The History of Emotions (2002) for example, consisted of a Murano vase containing a group of red roses and a pair of short-handled axes, with the words of the title winding around the irregularly shaped vase in r letters

in the same manner who are "the Ovidian victims"? Apparently the phrase is the title of a suite of etchings on the Symbolist artist and writer Max Klinger, who reset three tales from Ovid's Metamorphoses. Ovid, in change the direction of had borrowed them from earlier hellenic myths. All of Dellavedova's disparate work, single in kind begins to realize, deals with themes of metamorphosis. It also be seens to illustrate his belief that the part of the artist, at one time humble and exalted, remains unchanged across time.

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