Curated by Martina Cavallerin

13 December 2008 - 30 January 2009

Cristina Treppo's is a contemporary practice that comes from afar, from a customary use of collecting and heaping, from the dust of uninhabited attics violated by curious minds and quick hands. The artist touches the material and makes it different from himself, decontextualizes it and incorporates it with different subjects giving life to an autonomous, extraordinarily new work, contrasting her past and unbalanced in the present.

The analysis of Treppo's language brings us closer to the dynamics of the ready-made, of the object trouvé, but distances us from these for the purposes, which do not concern so much the relationship between artist and work, but between object and time, between object and space, between object and other objects, for the final supremacy, in fact, of a single subject that not only has another name but above all another form and lives in another place.

The constructive pivot of Treppo's work is embodied in various expressions. In forging wax and using it abundantly on stool and chandelier -Inclusion-, on twin armchairs bound together and fused between wood and wax -Honey-, like shiny and cold frontal self-portraits, albeit mixed together, united in a single destiny, forced to forced coexistence. In Kid's, a work consisting of a child's bed in brass completely disassembled and tied by a fabric cord.

Other times - Room - the artist organizes a set in which the juxtaposed elements are combined under the sign of colour, decorations, and narration told by a skilful, refined, slow and precise mise en scene, which only as a background is veiled by a faint dramatic light that is expressed in those wooden shoes.

In the Consequences of Time photographic series, consisting of two photographs depicting a wallpaper with ornamental motifs, mouldy and aged, and a photograph of a ceiling of a typical provincial house, bourgeois and wealthy, the opposition between theory and emotion is subtle.

The work Without guilt, consisting of a bedside table whose upper drawer generates a cascade of crystallized roses between blue and silver, is also a hybrid, an object that escapes in its uncertainty from a precise perception, lost as it is between the incomplete and the changeable.

The artist humorously enlivens the space by feeding on the work that expands between rooms and walls. Treppo lets work settle down and settle down, find its place and its being, a bulimic body that captures attention by holding a form of concentration and a surplus of glances on itself, immobile but willing to go beyond the threshold of what is immediately visible.

In fact, the artist works on the "what" to show but necessarily also on the "how" since the obsession that accompanies it is made up of submerged worlds and transposed dimensions, perhaps those of his childhood or the result of romantic voyeurism, a pretext for a look that through the desires of the past rests on the present. In comparison with the work we are not allowed to be neutral, nor can we take refuge in indifferent fruition, but we are forced to look a little behind us, at those passages that we also feel a little ours between abandonments and discoveries. , fragility and growth, poetry and reality.