dimensions: h.cm.240 | b. diam.cm.70 | each about diam. max cm.100
Medium: waste wire from industrial processing
Technique: hook weaving
Patrizia Benedetta Fratus’s soft sculptures derive from her search for archetypes – her archetypes – from the need to know where she comes from to avoid being overwhelmed by the models that the culture in which she was born and raised has assigned her. It is a quest rooted in the urge to break down boundaries in order to go beyond, to broaden one’s horizon and be able to look past the perimeter within which one is accustomed to seeing. Her method proceeds by dismantling, because only in this way is it possible to imagine and construct an elsewhere.
The five figures of RADICI stem from this desire for another story, another narrative. Their form emerges from the bare earth, the curious hands of a woman found them, hundreds of them, buried along the walls, silent witnesses of cultures yet to be known but already illuminating lost memories to be (re)discovered and new stories to be interpreted.
Fratus’ research sneaks into that fissure in the marble surface where everything seems linear, determined and unchanging, sowing the desire to search the folds of History for traces of other cultures and to project the gaze into the future to imagine those to come.
The artist finds comfort in this light that is redemptive of the value of each, and in the symbols of the archaic goddess Ananke –Necessity, who among the Greeks governed destiny and regulated the natural cycle of life, death and rebirth, the mother of time – and the archaic goddess Libertas – the Roman goddess of freedom – whose iconography is evoked in the Statue of Liberty, she finds the thread that ties the plural, magical, mysterious and infinite stories that inhabit time and space and are only waiting to find their voice.
Patrizia Benedetta Fratus (Palosco 1960) after some experience in high fashion, graduated from the Istituto Marangoni in Milan. She worked in the tailoring department of La Scala Theatre for two years. In 2004, she made her debut as an artist in Paris at the Edgar Le Machand d’Art Gallery. She won the Nocivelli Prize and was a finalist for the Cairo Prize in 2009. She began studying art history with Salvatore Falci. Since 2012, she has been working on relational and environmental art projects, also collaborating with foster homes and schools. A multi-material artist, she uses discarded media to initiate participatory works, involving those who, in doing so, become a living part of them. She searches in the different languages for the roots of the imaginary possible beyond stereotypes. In words lies the power to generate worlds, infinite worlds. Her work views art as an instrument of intellectual and empirical experimentation of awareness, self-sufficiency and self- determination, necessary tools for human emancipation.
Recent exhibitions include: SU TELA, UNIBS Università degli Studi di Brescia, promoted by Commissione di Genere, included among the events of BG BS Capitali della Cultura 2023; Ago, Filo e Libertà, Triennale di Milano for ‘Il tempo delle donne’ promoted by Corriere della Sera and 27esima Ora; FORGETME(K)NOT, Museo del Ricamo e del Tessile di Valtopina; Unclassifiable, under the patronage of the Municipality of Todi and Todi Festival; Naturales Quaestiones, Castello Malaspina Dal Verme, Bobbio, under the patronage of the Municipality of Bobbio, Lions Club, Touring Club Italiano; Tessere Pietra under the patronage of the Municipality of Palosco and the Municipality of Mornico sul Serio, an event included in the 19th AMACI Contemporary Art Day – catalogue
FRATUS PAVIMENTAZIONI SRL
For forty years, the company has been providing its customers with experience and passion for the art of stone flooring, accompanying them step by step along the creation process. Flooring is a fundamental part of a space, but it must live in symbiosis with the other elements.
Since 1983, Fratus Pavimentazioni has been synonymous with quality and seriousness in relation to terms such as harmony, balance and dialogue with the environment.
Moroso was established in 1952. It was the brainchild of Agostino Moroso who, with his wife, Diana, founded the company with the objective of making sofas, armchairs and furnishing accessories. An artisanal approach to product manufacturing and extraordinary creativity in the designing stage formed the foundations of a vision which enabled the firm to grow and distinguish itself in the market for its product quality, innovation and creativity. In the Eighties, the second generation of the family launched an exhaustive programme of auteur design studies.
Nearly seventy years after its founding, Moroso is positioned among the haute couture of international design, a leading company in upholstered-furniture manufacturing.
Through the creative input of designers of the calibre of Ron Arad, Patricia Urquiola, Ross Lovegrove, Konstantin Grcic, Alfredo Häberli, Toshiyuki Kita, Marcel Wanders, Tokujin Yoshioka, Enrico Franzolini, Doshi & Levien, Tord Boontje, Nendo, Front and others, Moroso has over the years created a collection of iconic designs. All with an unmistakable Moroso style, yet each exuding the essence of different latitudes and cultures. Its international outlook has introduced Moroso to some of the most beautiful design settings in the world, including MoMA in New York, Le Palais de Tokyo and the Grand Palais in Paris, and the Venice Biennale, and the Victoria & Albert Museum in London. Significant partnerships which allowed Moroso to create a vast and varied product range equally suited to residential or contract use.