Elena Redaelli’s work investigates matter’s transformation, generation and decay processes through participatory projects where the space of artistic action expands towards choral and shared authorship. Research and production methods are complementary and merge in public art, environmental and site-responsive projects involving extended time, manual labour, craft techniques and organic processes. The artist values, researches and uses ancient practices: hand-weaving, knitting, crocheting, felting, embroidery and papermaking through sustainable methods that promote using natural, recycled and local materials.
Elena Redaelli holds an MFA from UCA, London, UK and an MA in Sculpture from the Academy of Fine Arts in Rome. She has been exhibiting internationally since 2010 and has been a member of the Zest Artist Collective since 2020.
Infinite slowness 2020-ongoing
Infinite slowness is a research project accessible in each part of its development and fruition, an open-ended, process-based and performative act. The project investigates stones’ vitality and ability to move, reproduce, remember and communicate. It considers rocks and humans as entangled agent components, part of the environment at the same level of co-dependency. Rocks are layered stratification of time, encasing past memories, and living archives of the Anthropocene. The human body is ephemeral and temporary, and the stone is durable and stable while performing its calm mutations.
STRATI DI TEMPO, 2022
Felted wool, hand-made paper sculpture. Installation, variable dimensions.
This series of works is about time and form becoming indicative units for understanding and accepting the diversity of all living beings and their flow through life.Through the compression and manipulation of wool and natural fibres (cellulose and beet), this work offers a visual and tactile impression of the impalpable essence of a place complemented with practices of bodily exploration of space.
11th Viviane Fontaine International Paper Triennial, Musèe de Charmey, Switzerland
STRATA OF MEMORY, 2018
Material: Sugar cane bagasse, beet pulp and recycled paper on a wooden structure.
Size: 35 square meter Madou sugar industry Art Triennial
Through the shape of an imaginary architecture made of handmade paper, the installation reflects upon the hidden stories behind the landscape: narratives of daily gestures and labour. The layers of the paper refer to the stratification of time and memories in a humanized landscape that beholds visual traces of its past. The relation with the historical past of Tsung Yeh as a place of production is addressed through an intense commitment to the process of making, which became a performative act developed over four months. The use of sugar cane bagasse and beet pulp in the paper mixture is a conceptual bridge to the raw materials employed in sugar production in Europe and Asia and research towards innovative uses of paper. This metaphorical landscape, built by time and process, will steadily transform its features, being exposed to the weather, becoming a visual reminder of our daily habits’ impact on the environment. The spectator is invited to experience the work from within and inhabit the space, Moving between the ruins of a lost past which looks fragile but present like a memory.