Knoblauchzehe Gibimr a knouvalhappatle! Si attarda. Krautkopf, dummer Kerl Du pischt a kobaskopf! Krautblatt, Kohlblatt. Koch Mier prauchn an guitn koch. Abbiamo bisogno di un bravo cuoco. Michile trinkt. Piangere e ridere finiscono in un vaso da notte il vaso perde e il bambino? La stufa in maiolica scalda molto. Ho appositamente affidato il lavoro a un costruttore di stufe di maiolica. Du kochscht guit. Tu cucini bene. Mi piace molto cucinare. Cosa cucino oggi? Wackler, Besoffener.
Qui traballa tutto lett. Stai Schwanz bes. Riemen unter dem Zugtierschwanz. Handvoll a koff muis una cucchiaiata di polentina. Ho una caffettiera nuova. Person, die andere gern neckt. Le galline e le oche starnazzano. Dumme r dim. Stai attento che il kokkeraibile non ti porti via! Kalb dim. Kolbe, Mohn Er klaup de kolbm. Raccoglie i frutti dei papaveri.
Kalkgrube, in der man Kalk brennt. Sono tutto nero come uno spazzacamino. Sei nero come un carbonaio. Kollvraitach Korvraitach [kh] sost. Gli ha urlato contro. Questa mattina era freddo. Inizia a fare freddo. Hai freddo? Infilati nel bosco! Me lo ha detto freddamente. Sei proprio una freddolosa?! La via crucis porta al calvario. Befehl bes. Ha tanti amici. Kameradenschaft, Freundekreis. I comelicesi parlano comeliano. Comelico ted. Mia sorella vive in Comelico.
Comeglians ted. Vive a Comeglians. Fatti una camomilla per il mal di pancia! De komilgn paruigit. La camomilla calma. Schlafzimmer, Kammer dim. Riordina la soffitta! Boden des Dachbodens. Gesellschaft I pin in guiter kompagnii. Sono in buona compagnia. Kompass Er zachnt an krais pit me kompass. Disegna un cerchio con il compasso.
Kamm dim. Ha una cresta ciuffo di capelli come un galletto lett. Kompilun [k] top. Campolongo ted. Campolongo Dorf im Comelicotal Si orbatit af Lavora a Campolongo. La mamma pettina la bambina. Non ti sei pettinato oggi? I capelli corti sono presto puliti. Vai a pettinarti! Si accosta alla comunione. Gioconda ted. In un solo posto ho raccolto dieci recipienti di bacche.
Andiamo a fare le condoglianze. Schimmel auf Topfen, Wein, Essig. Al negozio di alimentari si trova di tutto. Portami il conto! Controlla il fuoco! Il sacerdote parla dal pulpito. Bissen einer Speise dim. Il cappellano aiuta il sacerdote. In cooperativa vendono di tutto. Chiudi la busta! Kopf dim. Ne ho fin sopra i capelli! Ha una cassetta di cappucci. Schnaide in kopf vain auf! Affetta sottile il cappuccio! Pischt a kopfater eisl! Sei un asino testardo!
Prendi una pastiglia per il mal di testa!
Kopftuch dim. Annodati il fazzoletto fiorato! Kopfnagel Ver de schpitze praucht man kopfnneigl. Per le punte ci vogliono i chiodi con la capocchia grande. Kopfzerbrechen 2 preoccupazione, grattacapo ted. Sorge dat. Guarda di non romperti la testa es. Kopfsalat I iss kopfsolat. Mangio insalata. Indossa un berretto di lana.
Ad ogni poveretto piace il suo berretto. Non ho coraggio. Correggo le parole sappadine. Sono andato a Rigolato con la corriera. Korina n. Corinna ted. Korl n. Carlo ted. Korb dim. Porto una gerla pesante. Korvraitach vedi Kollvraitach koscht [kh] sost. Schrank dim. Potevano esserci anche una credenza o un cassone dipinti. La pannellatura presentava semplici lavori di intaglio e sulle porte erano dipinte a volte decorazioni floreali ted. Prova ad assaggiare se manca sale! Questa macchina costa un sacco di soldi. Hietz muiss i de kose zohln. Chiudi il cancello! Si deve mangiare fintanto che il cancello si chiuda facilmente.
Katze dim. Il gatto fa le fusa. Come il gatto intorno alla polentina calda. In questo tempo il gatto va in Aile. Katzenaugen 2 buona vista ted. Lo scovolino della pipa veniva appeso accanto alla borsa di gatto per il tabacco. Kummet dat. A quale corpo militare appartiene? Chor 3 banda, masnada, gentaglia, comitiva es. Bande, Gesindel, bes. Korn, Getreide. Kofel, Berg dim. Andiamo sul monte dei mirtilli. Keivile top. Colle Bellavista. Felsen-Aurikel De kouvlroase pliet drauf me schtane.
L'auricola cresce sulla pietra. Bergspitze dat. Ho un copriletto estivo e uno invernale. Non fare tanto rumore! Avete avuto una discussione. Fratz, lebhaftes Kind 2 ronzino, cavallo da strapazzo ted. Lo scolaro scarabocchia sul foglietto. Kreide De schuilmaischter nimnt de kraide. L'insegnante prende il gesso. Invece di imbastire prendo il gessetto. Il grasso di maiale viene tagliato in piccoli pezzettini, cotto in un paiolo e scolato; ne viene fuori lo strutto e vi rimangono i ciccioli.
Fa un cerchio. I neri hanno capelli crespi. Ansimi terribilmente. De kelberkie kraischtnt. Le vacche da vitello gemono. Kreuzung 2 calvario, via crucis ted.
Loading seems to be taking a while.
Le cappelline del calvario sono sul pendio. Kreuz dim. Nelle coperte per armenti si ricamavano delle piccole croci rosse per invocare la protezione divina sul bestiame. Devi incrociare le bretelle. Passo Monte Croce Comelico ted. Il corvo e il falco gracchiano, la rana gracida. Attento che il gatto ti graffia! Muischt schean tuin, sischter kralt si di!
Devi essere gentile altrimenti ti graffia! I sappadini cucinano i crauti con farina e pancetta. Tui net ze viil kraut aussar! Non esagerare, non osare troppo! Pessar ana laus me kraute a bi gor kaa vlaisch. Meglio un pidocchio nell'insalata di cappucci che non aver proprio carne. Krautbottich De krautpoutige is laar. Mi cresce il rafano mi sto arrabbiando.
Vado in collera lett. Il re viene incoronato. Spitz, Deckchen. Mastico un pezzo di torrone. La camicetta ha un colletto piccolo. Kralle Schau de krelan drauf me schnea! Guarda le zampette sulla neve! Ci sono cose che feriscono. Il pavimento in legno scricchiola. Il fuoco scoppietta nella stufa. Kruste, Schorf Et de kretze ongraifn, sischter halsche net! Non toccare la crosta, altrimenti non guarisci! Mensch mit Krusten. Efeu, Kletterpflanze. Cosa ti passa sul fegato? Il piccolo gattona in cucina. Ha sgridato i bambini per un niente. Krieg dat. Quella ha gli occhi tutti cisposi. Augenbutter, vertrockneter Augenschleim in den Augenwinkeln.
Che brutta tosse! Oggi mi fanno male tutte le ossa lett. Futterkrippe, Krippe dim. Devono farle un clistere. I muiss'n krischtiern. Gli devo fare un clistere. Ha solo un paio di prati induriti. Apre le gambe in modo scomposto. Il ragno cammina sul muro. Ho sentito rumoreggiare. Ha fatto il rumore del tuono. Si sente un boato. Hals, Kragen dim. Ti tiro il collo come ad una gallina. Kragen Ziege in kroge auf! Tirati su il colletto! Kralle dim. Il gatto tira fuori le unghie! Il gallo canta. She never took off the mantilla, and she would have been able to wear, better than so many others, the shawls that all women wear nowadays, even the poorest.
And then always quiet! Even after she could no longer deceive herself with any hope, never, never, a spiteful or disdainful word. For her, the Marchese of Roccaverdina was God! And this and that! Only God can repay him! Poteva forse dubitare ora? Poteva forse indignarsi? Margitello non vi lascia pensare ad altro! Ed era vero! One better than the other! Mazza, the notary, can tell you what it means to ind a bad one. After all, in the end, the fault had been all his own.
Pride of class, the attempt to protect himself from himself, had caused him to give la Solmo a husband in that tyrannical pact, without a bit of relection over the possible consequences. Seeing that the Marchese remained silent and realizing that references to the past had, perhaps, displeased him, the engineer lit a cigar he had pulled out of his pocket and began to smoke it while waking around the room stroking his whiskers.
Meanwhile the Marchese, continuing to stare at the eucalyptus dripping with water, pursued with his thoughts a white igure with black hair under dark blue mantilla, chasing her through places seen years ago, among shacks that climbed on rocky cliffs, that crouched against the hills as if trying to shelter themselves from the wind.
He felt a secret surge of jealousy much different from the one he had felt before. Could he now be having doubts? Had he not been satisied that she had gone to live in that distant city, half squatting in the hollow of a mountain, in one of those shacks crouching on the sides of the cliffs as if trying to shelter themselves from the wind? Francesca Pellegrino was born in Taranto, where she cur- rently lives. Francesca Pellegrino is a coordinator of the literary magazine LibrAria.
Remarkable for a compression of form and the multiplicity of meanings that emanate from those few short lines, the poems of Francesca Pellegrino survey and inhabit a terrain that is contempo- rary Italy — its excesses and its silences, in poems whose language ricochets with the internal and external pressures of those who live internal lives and actively navigate in a contemporary world. Each of her four collections relects, and, indeed, has traveled in tandem with, a course of wider cultural crisis. In the poems of her most recent collection, Chernobylove — Il giorno dopo il vento Chernobylove — the day after the wind , the consideration of love is twinned with the concept of catastro- phe.
As with her other poems, the language of consumerism — both product itself and the language of advertising — is invoked, in what is often an investigation of excess and the forms of absence. She is a writer who has been active in internet publishing and discourse. She is an editor at the literary website LibrAria. Per dimagrire. So la differenza che passa tra un muro che sostiene e un altro che nasconde.
So then, I set down a piece of a place-setting, a plastic plate, a fork, and I drink the empty part of the mistaken half inside the glass to lose weight. Nouvelle cuisine I left a dream steeping in vinegar and waited to see how butterlies if butterlies ly bitter-sweetened. While waiting, I inished the ingernail of my left hand soaked in salt tears the appropriate length of time, just the right time to render it exquisite. Spring-time is a word undone I know how to do at least a thousand things contemporaneously — a thousand things. I know about the difference between a load-bearing wall and a wall that conceals.
Una sete di foglie da lasciarci gli occhi per il dispiacere. Pregando che faccia silenzio. Toglietemi tutto ma non il mio Breil Deve essere andato storto qualcosa. Ogni briciola era comunque rimasta al suo posto. In bellissima mostra. E si fece ugualmente ora tarda il mio sbadiglio.
Casa Editrice Kimerik, And, recognizing, even, the exact instant it arrives, fasting, in order to ill my mouth with dead lies after the last uncouth spring. The Man from del monte says Yes There was basil in a lower-pot. Extremely dry. The leaves with a thirst to turn eyes aside in displeasure. Neither did it perfume either anymore. There was a need for there to be rain sometimes. Praying it would make silence. Perhaps a gear not cognizing round the hours advancing on the table anymore. Each crumb however remained in place. In beautiful display. And it made late hour equal my yawn.
Her essays on translation were published in the Boston Globe. Umberto Saba. When he died at age 74, Saba left very little unexplored. When he began writing poetry, young Poli used various pseudonyms before inally settling on the name Saba. He was then sixteen years old. This is where we pick him up in Ernesto.
The shop is still at the same location and now serves as a Saba museum as well. Not until he was in his mid forties and analyzed by Edo- ardo Weiss, an early Freudian who practiced in Trieste, was Saba able to unravel the complicated emotions of his early life. Still, the nervous ailments and depressions of his youth continued to plague him and worsened with age. He spent his last years in and out of sanatoria.
In his inal years, addicted to morphine, subject to its and falls, and living alone in a room cluttered with clothes and books, littered with cigar stubs and ashes, Saba turned to prose to reexamine his youth. He died in August Saba produced nearly one thousand pages of prose: articles, recollections, short iction, critical essays and the brilliant Shortcuts, all of which have begun to engage translators and literary critics.
He began the work in when in his seventies, fully aware that its frankness and honesty would appall Italian readers. Although he considered some passages to be his best writing, and read the work aloud to friends and family as it progressed, he repeatedly admonished his daughter, Linuc- cia, and her companion, writer and artist Carlo Levi, to destroy their copies of the manuscript.
Four years later, it was made into a movie by director Salvatore Samperi. With the passing of time and the change in social mores the book has become a landmark in Italian and international homosexual literature. The boy, Ernesto is a sixteen year old clerk at a commercial irm, who writes poetry and plays the violin. He is willingly se- duced by the twenty-eight year old, uneducated stevedore never named in the book whose work Ernesto supervises. Their surrep- titious trysts at work continue until the boy impetuously decides to have his irst relations with a woman.
He cautiously chooses a particular prostitute. Subsequently, wishing to escape the man, Ernesto cruelly engineers his own dismissal from the irm. Still later, he is attracted to a ifteen year old boy, a violinist, very much like his younger self. Discussing his own style in his Scorciatoie Shortcuts , Saba wrote. May my typesetter and my reader forgive me. And there was no other way I could be brief. Ernesto is not much known to the world. It was never issued in North America. Much of the dialogue in the early chapters of Ernesto is in Triestino, the local speech of Trieste and the adjacent Friuli sec- tion of Italy, a dialect so remote in sound and orthography from the standard language that it is in essence a foreign language to other Italians.
After beginning the novel with such a dialogue Saba charac- teristically and parenthetically, pauses to tell his Italian readers that he has modiied that dialogue and all that follow it, in the hope that potential readers will be able to translate them on their own. So much for burn the manuscript, dear daughter. It was not jargon or street slang. Nor was it related to social hierarchy. And no wonder. He spoke it every day. No matter their differences in social class, any two Triestino speakers were equals in terms of direct communication.
There is a rich and growing literature addressed to translators on how to translate dialect into a target language. But each translator and work make a unique pair, and as usual in life, every situation must ind its own solution. Works completely in dialect can perhaps be most happily translated if the translator can deine the essence of a work and ind a rhythmically and vocally compatible style in the target language. Most of the dialogues in dialect in Ernesto take place between Ernesto and the characters who move the sexual elements of the story forward.
These dialogues tend to be lengthy, tension laden and emotional both for the characters and the reader. Sadly, there is no English language dialect — at least none that I could ind or invent - that can function as the Triestine does in Ernesto. Absent the availability of such a dialect, I have tried to reproduce this essential interplay of voices in English, in as compelling and coherent a way as possible.
Neither Mr. This translation is based on the critical Italian edition of Ernesto edited by Antonietta Grignani and issued in Prima di pranzo, passa da Bernardo. Bernardo era un barbiere che aveva la bottega in faccia alla casa di Ernesto. Ma Ernesto non amava perdere nulla della sua persona, nemmeno di quelle parti di essa destinate a ricrescere.
Era dificile cavarlo fuori da quel nascondiglio e, qualche volta, la giovane donna, che gli voleva bene come fosse stato suo iglio il suo era morto appena nato , ma aveva molte altre faccende da sbrigare, perdeva la pazienza. E come sempre si mise a piangere. Si trattava di una vecchia calunnia. Questo era tutto. Signora Celestina had been pleading with Ernesto for over a month to have this bit of surgery done. It was dificult for her to pry him out from there and at times the woman, who loved him as if he were her own child her son had died shortly after birth , and who had much more work to do, would lose her temper.
It had to do with slanderous old gossip. That was all. Avrebbe perino strozzato il merlo che, ignaro, cantava alla inestra. Poi, una cartina di bromuro mise, per il momento, le cose a posto. E, ogni volta, sua madre si offend- eva e arrabbiava; lo minacciava di denunciarlo, per un castigo, allo zio Giovanni. Ernesto, per conto suo, oltre ad avere la consolante certezza che sua madre minacciava invano, non avrebbe trovato niente di male ad essere iglio di Bernardo.
Lo conosceva e serviva in da piccolo; era stato il primo, dopo la sua balia, a tagliargli i capelli, e sperava di essere lui a fargli la prima barba. Apparteneva - si vede - a quella categoria di persone, molto numerose, che non immaginano una carriera brillante se non preceduta da una laurea.
Thrilled and exhilarated by the revelations of the mysteries of procreation and of his hidden relationship to Bernardo, Ernesto had raced home to recount both these exciting bits of news to his mother. On hearing the second, she fainted and fell to the ground. He could have throttled his blackbird singing away obliviously at the window. It seemed in fact, to be singing louder and better than ever before. A dose of bromide eventually set things right.
Nevertheless, every time his mother pressed him go to the barber two, perhaps three times a year the boy would get back at her with the old tale, though by then he, too, knew that it was complete and utter rubbish. And every time she would get insulted and angry and threaten to punish him by telling his Uncle Giovanni. Bernardo was a heavy, fairly elderly man with completely white hair and a kind face. He always welcomed Ernesto warmly, had even lent him money once which the boy spent at a new bakery that everyone in town was raving about, and which he repaid punctually from the weekly allowance he got from his uncle.
Bernardo had waited on him since childhood. And he suffered his irst disappoint- ment when Ernesto left school to take a job. It seems that Bernardo belonged to that very large group of people who cannot imagine a brilliant career not preceded by an academic degree. Although he never expressed his disappointment to Ernesto, the boy sensed it.
Bernardo volle servirlo di persona. Il barbiere gli chiese, come prima cosa, notizie della sua salute sapeva che Ernesto era stato ammalato e ci teneva a fargli sapere che lo sapeva , di quella della signora Celestina e della vecchissima zia. Pareva se ne vantasse. Gli disse che lo zio gli aveva parlato di lui, lamentandosi che fosse sempre socialista.
I socialisti diceva lo zio - sono in odio a tutti, e non sono destinati a far carriera nel mondo. Ernesto, che conosceva Bernardo da sempre, la preferiva. Ma no son iscritto al par- tito; son ancora tropo giovine. Bernardo rise. Conosceva abbastanza Ernesto per dare troppo peso alle sue parole. Il ragazzo e Bernardo lo sapeva non odiava lo zio tutore non odiava ancora nessuno : ne aveva solo paura. Sentiva che questi non lo amava almeno eccessivamente e, soprat- tutto, non lo approvava. Forse sospettava nel nipote qualcosa di strano e di proibito. Ed uno dei tratti del carattere di Ernesto era il bisogno di essere approvato ed amato.
He walked resolutely into the shop. Bernardo wanted to take care of him personally. Once seated in the revolv- ing chair and completely at the mercy of his unwitting torturer, Ernesto resigned himself to having his hair cut as a necessity, however unpleasant, of the good life. All he said to Bernardo was not to cut his hair too short, and answered all his questions cheerfully.
The irst thing the barber inquired about was his health he knew that Ernesto had been ill and wanted him to know that he knew it. After that he asked after the health of Signora Celeste and of his very old Aunt. Then he told him that just the previous day Signor Giovanni had been in to have his beard trimmed. He seemed to take pride in this. He added that his uncle had spoken about Ernesto, lamenting that he was still a socialist.
Socialists, his uncle had said, were hated by everyone and would never amount to anything in the world. Sometimes he used it, sometimes the more formal lei. He knew Ernesto well enough not to take him seriously. He was just afraid of him. Is that true? Ernesto si attendeva ad un elogio: avrebbe dato non so cosa per riceverlo. Ma sapeva egli stesso di non meritarlo. Il violino era stato un suo capriccio, nel quale poi si era ostinato. Lo zio poi odiava in linea generale i violini e, in modo particolare, quello del nipote.
Play- ing the violin had begun as one of his whims, but one in which he subsequently persisted. He paid a teacher from the weekly allowance that he received from his Uncle, and from the small sums he extorted with wheedling and promises from his old aunt.
He said that there was only one great violinist in the world: Paganini. The derision with which his Uncle delivered these words stung the boy more deeply than a slap in the face. The only person who was not completely disapproving of the experiment was his old aunt. But his aunt, in addition to being old, was a little deaf. And the only work that signora Celeste let her do at home was to wash the radicchio which they ate in large amounts.
Despite his meager progress, the boy persisted in studying his loved-and-hated violin. Adesso desiderava che Bernardo si spicciasse. Il vecchio barbiere non mostrava invece nessuna fretta: si sarebbe detto che provasse piacere a prolungare al massimo quello che, per Ernesto, era un supplizio. Sentiva al collo, dove il barbiere aveva fatto passare il rasoio, una spiacevole sensazione di freddo. Il suo movimento istintivo sarebbe stato di alzarsi e scappare; ma, timidezza a parte, avrebbe dovuto dare delle spiegazioni; e, o non le trovava, o non poteva esibirle.
Era, oltre a tutto, il suo mestiere: se non ci fossero state barbe, Bernardo le avrebbe inventate. Nessuno si accorse che aveva le lacrime agli occhi. It was a miracle that, chatterbox that he was, he had never said a word about it to the man. He seemed to enjoy dragging out the process, which was a torture to Ernesto. Anyway, , when he was young, he was for Garibaldi.
L'interpretazione della morte - Jed Rubenfeld, Roberta Zuppet • BookLikes (ISBN)
Besides, he was almost done. Ernesto barely glanced at it, then shut his eyes so as not to see himself looking worse, so he thought, than before. His neck, which the barber had shaved, felt unpleasantly chilled. His intuitive reaction would have been to get up and get out of there.
Then suddenly, he thought of the man; saw him, off in the distance, looking as if he were weeping. He is never named in the book. Sperava - pur sapendo che la sua speranza era vana - che sua madre avrebbe saputo confortarlo. E lo disse col tuono con cui avrebbe annunciata una grande sventura che gli fosse occorsa. Bernardo ha fatto bene a tagliartela. Fa vedere Poi le friggeva in quello stesso olio. It was, after all, his profession. If there were no such things as beards, he would have invented them. Ernesto was inally free and got up from the chair.
No one noticed the tears in his eyes. Bernardo smiling contentedly and folding his towel, watched Ernesto cross the street as he led home. He was hoping, even as he knew it was in vain, that his mother would comfort him. Let me see. When he had been about thirteen or fourteen years old, he would have liked to be taken for a grown man, and had badgered his mother to buy him a vest like one a boy in his class had.
Now, however, reading newspapers, he was pleased if a youth of his age was still referred to as a boy. Auntie and I are hungry. Fino ai tredici anni ne riceveva una; poi due, e della stessa grandezza di prima. Il ragazzo ne avrebbe mangiate tre, anche quattro: ma quel giorno non sentiva quasi il gusto dei cibi. Davano tutti gli insegnamenti del caso, ed abbondavano in particolari. Tutti gli altri ed Ernesto si collocava fra gli altri dovevano crepare. Egli si sapeva incapace di dire di no, specialmente ad una donna.
They left specks of blood in the oil, and she would then fry them in the same oil. They were in fact, meat balls, though lattened, but they must have contained a secret ingredient. Until he was thirteen years old, Ernesto had been served only one, later, he got a second, as large as the irst. He could eat three, perhaps even four, but that day he could barely taste any of his food. He ate in silence, then immediately withdrew to his room, the only one in the house with a sloping roof, where he threw himself down on the brass bed to brood on his unhappiness.
The blackbird, accustomed to being released and to having its bath at that time of day, began hopping restlessly from perch to perch, and calling to Ernesto to open the cage. With a sense of regret he recalled all the friends who had already done so; and had bragged about it to him. They had told him all they knew on the subject and were lavish with details. Even a cousin his own age well, not exactly, he was three months older than Ernesto had already done it - more than once, if you could believe him.
Life, in that sense, began the day a boy had a woman for the irst time. However, there had been a time when he was convinced that he would die of tuberculosis before he got to be twenty. Everyone else and Er- nesto counted himself among those others was going to die. The obsession lasted two or three months. Then he stopped thinking about it. E se non gli fosse piaciuta?
Ora una prostituta non poteva - ed egli lo sapeva - amarlo; se andava con lui era per i soldi: gli avrebbe preferito un vecchio, il signor Wilder, o un altro come lui, dal quale poteva ricevere, o almeno sperare di ricevere, una buona mancia. Ma il destino doveva essergli, anche questa volta, favorevole. Abitava al primo piano di una vecchia casa, nel quartiere dove si aprivano i postriboli: un conoscente gli aveva anche detto la sua tariffa costava anche lei un iorino ; ma Ernesto non sapeva come trovare la porta alla quale avrebbe dovuto battere.
Se avesse battuto ad una porta sbagliata, cosa avrebbe detto a chi gli fosse venuto ad aprire? And after that, his friendship with the man. He had another problem too. He knew he was incapable of saying no, especially to a woman. Consequently, if he went to a brothel he would have to say yes to the irst woman offered him.
How would he have the nerve to aflict a poor, unfortunate woman The Worker had taught him that prostitutes were poor unfortunate victims of bourgeois prejudice with the shame of a refusal? Ernesto had not yet reached the age of aesthetic sensibility he would reach it shortly - but by other ways and other means.
His preferences were dictated solely by his sensuality at a given moment. For example, it never occurred to him to wonder whether the man was handsome or ugly. He had responded to him for reasons that had nothing to do with aesthetics. He wanted to be loved and the man loved him. He knew that. If she went with him, it was for the money.
This matter of mak- ing a choice or rather of not making one was a major dificulty rooted in his character. But fate was once again to favor him. There was a woman in the old city who practiced the profession on her own perhaps secretly, meaning without police authorization. Ernesto had seen her often at her window. She lived on the irst loor of an old building in a part of town where brothels were permitted. A friend had told him her price a lorin. If he knocked at the wrong door, what would he say to whoever opened it? He imagined - who knows why- an old woman holding a broom, who, on hearing what he wanted, would chase him into the street shrieking insults and humiliating him in front of everybody.
Worse, his uncle, who, fearing solitary vices in his nephew, was giving him weekly gifts for just this purpose though alas, without actually stating his reason , owned shops on a street not far from the brothels. What if his uncle happened to pass by and witness the scene? Sapeva che dalle prostitute si andava solo di sera e di nascosto; ma non si sentiva di rimandare: preferiva affrontare il tutto per tutto, subito, in pieno giorno. Era anche un giorno di grande sole. A pensarci su, avrebbe perso il poco coraggio che gli rimaneva. La donna era alla inestra; e vide subito il suo cenno.
Era un odore di biancheria nuova, appena tagliata; lo stesso che gli piaceva tanto nella casa della sua balia. Questa, che aveva il marito ammalato, e doveva guadagnare la vita per lui e per lei, cuciva a macchina tutti i pomeriggi capi di biancheria diversi, che la mattina vendeva, o cercava di vendere, in Piazza del Ponterosso.
Ernesto had no doubt she would immediately start crying, maybe faint, or even die right there with the shame of having such a son. Yes or no? Wanting to experience the feelings that Bernardo had inadvertently activated in him with that ill timed, premature shave, Ernesto decided to surrender to fate. He would walk down the street where the woman lived. He would walk by three times. If one of those times she was at the window he would signal to her and go up. His afternoon was essentially free.
So he had plenty of time. He wanted to experi- ence everything head on, immediately, in broad daylight. It was even a bright sunny day. If he stopped to think about it, he would lose what little courage he had. The woman was at the window and immediately noticed his nod. His heart beating in his throat, Ernesto climbed the steps and found her waiting at her door. In fact, he had the feeling that things might work out better for him this way. What he did notice was a light growth of hair over her upper lip. Is she going to sprout a mustache? The thought amused and cheered him.
The nursemaid, who had a sick husband and had to earn a living for both of them, would sit at her sewing machine every afternoon making various articles of linen which she sold, or attempted to sell, mornings in Piazza del Pon- terosso. But she would chase him off immediately. Forse era anche una buona donna, con repressi istinti materni. Ernesto fece un gesto vago, come per dire che la cosa gli era indifferente. La donna non se le tolse. Under Franz Joseph2 , no one could stop her from walking around with linen under her arm.
This woman too, was sewing linen, but she was doing it for herself and for her clients. She was particular about cleanliness. Perhaps she, too, was a kind woman with suppressed maternal instincts. If so, this strange customer who had dropped in on her in broad daylight and who acted less mature than he looked, would seem to be particularly fashioned to draw them out.
He was neither undress- ing nor approaching her. And she looked more closely at Ernesto. He was a good looking boy, so different from the men who regularly visited her at night. She sensed that on that afternoon, fate had bestowed a strange and unexpected gift upon her. You just get yourself undressed. Ernesto did so too.
Ernesto gestured vaguely, as if it was matter of indifference to him. The woman did not remove them. But one glance - and the discovery pleased her - told her her diagnosis had been incorrect. Ma Ernesto era fatto diversamente. La sua forza e la sua debolezza stavano nel mostrarsi, in dove possibile, quale veramente era.
Il ragazzo amava, come tutti i suoi coetanei, le lodi; ma, a differenza di questi, doveva sentire di meritarle. Come ti te ciami?
Ma Ernesto non era un cliente comune. E fece seguire al nome il cognome. La donna sorrise. Evidentemente, la donna era una slovena del Territorio. It will be easier, if this is really your irst time. Why, in fact, should he have? Youngsters generally try to pass themselves off as sophisticated rather than inexperienced. And the harder they pretend to be the former, the more likely they are to be the latter.
His strength and his weakness lay in trying as much as possible to present himself as he really was. Like all boys his age he liked praise, but unlike most others, he had to feel he merited it. There were times his relationship with the man was a torment to him. It would occur to him that if people whom he knew, who were repelled by such behavior and used insulting terms for it, were to learn what he had done, many who now liked him would no longer do so. Meanwhile, to arouse him, the woman had begun caressing him. Completely nude, he seemed to her not more than a child. And as if he were a child, her hand stroked his buttocks.
They were soft and tender and her hand lingered there for a moment. But that moment was enough for Ernesto to recall the man. And his image there, in that place, was frightening. I like you better this way. The woman smiled. E - come desid- erava andarsene pensare in pace a quanto gli era accaduto - mise la mano in tasca, per prendere fuori il denaro e pagare la donna.
Era il primo del mese e il primo giorno della settimana: Ernesto era ricco. Dette alla donna che costava solo un iorino tutto, o quasi, quello che possedeva, compreso quanto aveva dimenticato di dare a Bernardo. Voleva rendergli una parte del denaro; ma Ernesto non volle. Ricordite che me ciamo Tanda, e sta atento a no sbagliar de porta. Era quasi commossa,e volentieri gli avrebbe dato un bacio. La matassa doveva attendere molti anni per incominciare appena a dipanarla; la sete invece che, per ragioni isiologiche, afligge tutti gli uomini dopo il coito con una prostituta poteva sod- disfarla subito.
And falling back at the edge of the bed, she drew the boy towards her. It seemed to him that he had experienced it before, even before his birth. He felt like a man who, after a long, adventurous journey, returns home where he knows and recognizes everything: the way the furniture is set out, the way the closets are arranged, that is, every little thing. Ernesto, no longer worried about himself, inquired about it. And, as he was anxious to get away to think quietly about what he had just experienced , he reached into his pocket for money.
It was the irst of the month, the irst of the week. He was rich. It was what only the old or impotent paid. She offered to give him some money back, but he refused. Just remember my name is Tanda, and be careful not to go to the wrong door. Non gli restava quindi che bere ad una fontana pubblica. Ma la loro vista lo rese anche accorto di essere in ritardo. Per affrettarlo, decise di prendere, coi pochi centesimi che gli rimanevano, il tram.
Lo avrebbe poi messo in conto al parsimonioso signor Wilder. Molte donne, la maggior parte giovani, alcune ancora bambine, attendevano il loro turno. Two problems were troubling Ernesto as he set off to do his errands for Signor Wilder. He was unable to undo the twisted tangle of his thoughts, and he was very thirsty. It would be many years before he could even begin to undo the tangle. On a cold December day, Linda Nieuwstad took a train and went to visit a small town called Weesp near Amsterdam.
Upon arriving, she walked through the town and eventually wandered into the city hall that also houses a ceramics museum on its second floor. In this collection of works ranging from to , Linda could see tulips, pansies, primroses, roses, cornflowers, daffodils and many other varieties of flowers decorating ancient porcelain plates. She took a number of notes and photos and then had to leave to catch her train. A few months later, she decided to make a bouquet based on this experience.
When the bouquet was finished, Linda returned to Weesp and brought her bouquet with her. A friendly man at the reception of the City Hall allowed her to take some pictures of her bouquet in the hall. Linda bends her steel frames by hand then welds the separate parts together. Linda then cuts leaves and petals out of truck tarp and gives them a final touch with details in wool, velvet or paper.
Her forget-me-nots are as large as breakfast plates, her roses can measure the size of truck tires and you can sit underneath her daffodils. She started to make large sized flowers when she visited an old museum in the Netherlands full of flower paintings from the 18th century. She dreamed of living inside the paintings, and she has been making large sized flowers ever since.
Over the past few years, Linda has built up a reputation as a creator of luxurious floral still-lifes made of explicitly industrial materials such as plastic, textile, foam rubber, PVS and steel. To Linda, the underlying symbolism of the individual flowers is of less importance than the general significance of a bouquet as a gesture of pleasure or sympathy.
Contrary to what one could assume given its name, gilded leather is not worked with gold leaf but rather with layers of silver leaf. In order for the silver not to oxidise, layers of varnish are applied, lending it its final golden colour. This delicate and meticulous technique of decorating leather dates back to the 6th century. Gilded leather can be applied to numerous objects such as bags, chairs and screens. A bag alone can take more than 50 hours of work to complete. This leather has been gilded with silver leaf, and then lacquered with a golden yellow varnish.
A mould is used to emboss the gilded leather that is then painted by hand. Based on industry standards, only water based paints and varnishes are used to decorate the leather. Sebastiaan van Soest Sebastiaan van Soest is the last gilded leather-worker in the Netherlands. The craft was transmitted from father to son and Sebastiaan literally grew up among gilded leather. Wherever his parents went to work, they would take Sebastiaan and his sister along. In the 90s, the workshop created a gilded leather room for a replica of Huis ten Bosch at the Holland Village in Japan. That was the first time that Sebastiaan would participate in manufacturing gilded leather.
Similar authors to follow
A few years after his father passed away, Sebastiaan dedicated himself to this craft, wishing to preserve the unique knowhow handed down by his parents. He is the owner and manager of Goudleeratelier Van Soest. Each piece is as unique in its creation as in its natural history. A trunk of oak is turned on a lathe until it is very thin then sandblasted until the wood resembles lace fabric. Both pieces are left as natural as possible, with just a protective finish. Pascal Oudet Formerly an electrical engineer, Pascal Oudet changed career path towards one of wood-turning about ten years ago.
Pascal perfected a technique of sandblasting turned wood to a quasi-transparent degree, similar to the texture of lace fabric. He has been practising this technique for about twelve years but it took him around half of this time to perfect it. He is currently still the only artisan to master this technique in France. David investigated the possibilities of transforming an old goldsmithing technique, granulation, into sculptural silverware. This ancient technique usually used for jewellery work creates small metal balls to decorate surfaces of objects. David investigated how rather than using this technique to decorate the surface of his sculptures, it could become the actual surface of the sculpture.
Granulation thus became the subject of his sculptures and inspiration for new ones. The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres granules decorate a surface. David Huycke www. Since , David has worked as an independent artisan in the field of the sculptural art-objects. The object is made of blown glass canes containing metal oxides.
This unit of fragile structural layers is then paired with another piece in ceramic. Subsequently, the two sides are twisted together with thin copper wire. She studied glassblowing at the Kosta Glass School in Sweden. She works with glass and ceramics, and occasionally wood, concrete and metals, to create innovative pieces.
Ida combines an artistically poetic approach with tangible artisanal knowledge of materials and techniques, resulting in highly expressive and emotional works. In the middle of winter at the start of , a heavy storm hit the west coast of Wales. The high sea pushed the pebbles and sand away revealing an ancient forest that would have been used around ten thousand years ago by hunter-gatherers. Each piece is handmade starting from a pinch pot form slowly opened to shape the base.
The form is then developed by adding soft slabs. Each layer has to dry sufficiently to support the next. The surface is then refined and the profile defined using metal scrappers and blades. Ashraf builds individual and related groups of ceramic vessels by hand, each object informing the next. One of his major interests is the profiles, lines and spaces that emerge from this process of development and ultimately their placement in relation to one another, creating a contrast between the juxtaposition of sharp lines with softer curves.
Ashraf works with a restricted palette of refined slips and stained clays. The pared-down natural and subtle surface treatments combine to produce vessels that explore the essence of form. Each piece is hand worked from a single steel can, taking many hours. Claire Malet Claire Malet is a metalsmith artisan who works with precious, non-precious and found-metals. She also finds inspiration in the characteristics of the medium, working intuitively and allowing the metal to suggest a direction.
Claire is particularly drawn to vessel forms, which she believes are one of the most basic and universal of objects, in daily mundane use and play vital roles at occasions of celebration and honour. Each piece is sculpted and polished with diamond abrasives to achieve a smooth finish. Matthew Chambers The works of British ceramic sculptor Matthew Chambers are born from a love of geometry, optical art, modern architecture and design. He pursues these interests in an abstract sense by exploring shapes and making mathematically constructed pieces in clay, created from many different wheel-thrown sections.
His sculptures convey individual properties of space, light and colour, and sustain an expression of abstract as well as rhythmical beauty. The work Kevin produces is inspired by the tradition of Scandinavian design and a responsive attitude to making. The processes he uses couple traditional metalworking skills with new technology — originally laser welded but now TIG welded. Individual strips of silver are hand-formed before being joined together to form a complex surface. A number of surface elements within one piece can collide to create contrasting smooth and jagged edges resulting in decorative qualities and surface depth.
From the outset of its creation, the volume and shape that the final piece will take is visualised, but the surface quality and resulting jagged edges only emerge as the work is made. Patera is made from hand cut and hand shaped strips of silver that are TIP welded together. The outer construction is welded to a hand shaped and planished flattened inner bowl. Kevin Grey Kevin Grey creates unique silver pieces, using TIG welding techniques to join individual formed pieces of metal.
For 25 years, Kevin worked within the luxury automotive industry, handmaking pieces for Rolls Royce, Bentley and the Morgan Motor Company as well as for clients around the world. Kevin then started silver work in upon commencing a two-year programme at the Birmingham School of Jewellery, followed by a two-year artist residency. His accumulated knowledge has provided him with an approach to silver work that extends beyond and complements silversmith traditions. His creative design process invariably leads to a technical challenge that he enjoys resolving.
To do so he draws on his intuitive approach and his ability to stretch, shape and join metal precisely, with extraordinary levels of skill and creativity. Patricia Shone creates mostly functional forms such as jars and bowls rather than a direct representation of the landscape because they are innately human vessels.
They represent the human condition of surface and content. Her works are intricately linked to the landscapes of the Isle of Skye and recount stories of the effects and force of nature on the landscape. Patricia lets go of her rational control of the clay and works with it to allow a natural development of textures such as the formation and erosion of the land.
The pieces are hand formed from solid lumps by texturing and stretching, sometimes by throwing, sometimes carving. The muted colours are achieved mostly by the processes of wood firing, tanka firing and raku firing and from different clay bodies. Patricia Shone Patricia Shone is a potter who has worked and lived on the Isle of Skye, Scotland, for the past twenty years. Her highly textured ceramics are entirely hand formed using the weight of the clay to stretch and distort patterns on the surfaces. Her work has developed significantly using this technique, which with various firing methods results in a range of ceramic objects reflecting the geology of the island.
Her work tries to give a sense of this force of nature through spontaneously formed textures, unpredictable firing techniques, and the acceptance of failures as well as successes. The pieces have a stillness, like shells and fossils, even though they capture evidence of energy in the variation and scale of the elements in the patterns. Energy is apparent in the making of the work, but it is not energy in itself. The energy in her work is not gestural; it is more compressed, the pieces describing the journey of the making of the work that is laborious rather than free.
Sculptural forms in unglazed porcelain clay. Hand-built slowly over months from small individually made pieces, with multiple firings. Her abstract forms take their inspiration from natural forms, in particular the patterns and geometry of living organisms in the plant and animal kingdoms. Living forms are a progression rather than a static form, they are in a constant process of change. The forms in her work evoke this progression, evolving during the making process but becoming static after being fired.
Each element of the pattern is individually made, the form is constructed slowly over a period of weeks or months. Annen works the material to its physical limit because he aims to make his work as light as possible with a maximum translucency. The atmosphere of the light caught in the shell emerges from the variations in the relief.
A basic form is turned on a lathe and a plaster mould is made from the shape. A reinforced structure is created in the mould in order to stabilise the very thin bowl before it is fired. Liquid clay is poured into the mould and turned quickly for exactly seconds. The clay is then poured out leaving a 2mm thick layer of porcelain in the mould which is then fired. The largest bowls are decorated with various sets of motifs. The clay is then poured out leaving a 2mm thick layer of porcelain in the mould. The large bowls are decorated with various motifs. On the first bowl, Annen adds hundreds of porcelain spikes to the surface with an injection tool filled with porcelain slip.
To the second bowl, he creates with extreme precision a series of finely graded lines, following the grooves previously marked with a felt-tip pen. He uses special engraving tools from Japan, reinforced and sharpened, so that he can work on the surface even when it has reached its maximum hardness. In , he opened his own studio in Basel.
Arnold is famous above all for his works in Limoges porcelain. Over the years, he has refined his technique, which is an unmistakable hallmark of his work. He makes transparent bowls as thin as paper. To reach this level of perfection, his procedures involve a disciplined approach, along with sophisticated manual techniques. He has developed small and large porcelain objects, dedicating particular attention to space, volume and interstitial spaces.
The extremely thin walls of his bowls make it impossible to correct errors. Even the smallest bubble would ruin a piece. Arnold Annen's work results from archetypes of fossil-like shapes and visualises the genesis of new life forms. Mitre, seed vessels, marine creatures, unicellular organisms, radiolaria, technological products: the range of associations can be very wide and creates an imaginary time-space that is open to the past as well as to the future. A little quantity of liquid porcelain is poured into the mould.
While Arnold turns the mould in all directions, a thin layer of porcelain sticks to the mould. In a next step this basic shape is deformed and perforated, and finally hundreds of thorns are added to its surface. Anne Petters' works aim to convey an ephemeral, fleeting moment and show how we crystallise personal moments by experiencing, memorising and collecting. The flow of incidents and the uniqueness of every moment is what interests her. She sees this as a fragile system through which we must navigate, comparable to an amorphous structure in glass.
Anne uses glass to capture the notion of these ephemeral moments. The books are kiln formed, the sheets fused on the left side of the stack. Anne Petters Anne Petters is a multimedia artist with a strong background in glass. She understands the political change in her country, which she experienced as a displacement of reality, as a basic influence on her lifestyle and artistic work. Her interest in controlling and displaying moments of fleeting and vulnerable existence leads her to a poetic, metaphoric use of glass and other materials. Anne has been awarded numerous artist residencies.
He works with these collected statues by altering them or working with them alongside new subjects. Andrea Salvatori produces ceramic pieces through plaster moulds. He uses different types of clay to create unique works of art or design objects in limited edition. Andrea Salvatori info salvatoriandrea.
Andrea sometimes combines his porcelain sculptures with objects such as Murano glass vases, Meissen porcelain miniatures and Ginori period ceramics that he finds in flea markets across Europe. His detailed works demonstrate his mastery of ceramics. Since , Andrea has exhibited his works in several national and international solo and collective exhibitions.
He likes to enrich his sculptures with what jewellery brings to him and give jewels what sculpture makes him feel. Using techniques similar to those used for brass-work, Elie Hirsch shapes sheets of metal with a hammer. He cuts out a shape from the metal sheet, and then welds the different worked-on sheets together. Finally, he hammers this final form into shape. To create volume he hammers it or adds material. Elie Hirsch Elie Hirsch graduated in ceramic design in and metal sculpture in He participates every year in numerous fairs and exhibitions in France and abroad.
Porcelain objects made using an inlay technique called nerikomi. Each piece is handmade and unique. Maria Ten Kortenaar To Maria Ten Kortenaar , porcelain is a medium that allows her to express what she perceives, feels and experiences in everyday life. Through porcelain, she is able to translate her impressions into artworks.
Happiness, sunsets, rainy days and landscapes that she observes in real life all find their way into her artwork. The titles are links to her personal memories. There are two different layers to her work. The visible layer: to emphasise the many colours in her works, Maria chooses to keep the form as simple as possible, choosing the cylinder. Her cylinders are built up from smaller fragments. To draw the attention of the viewer, she disturbs the pattern just slightly. This uneasiness catches the eye.
There is harmony and there is disharmony, created with a rhythm. The emotional layer: the colours and composition tell her story, while the white porcelain serves as the blank sheet of paper on which her story is written. It is her aim to translate our inner life in such a way that it becomes visible to others. La Fucina di Efesto forge has hammered life back into the old stone walls of a recently renovated stable that belonged to a Benedictine Order as far back as La Fucina has established itself as a meeting place for traditional, innovative research and experimentation.
The studio works on a large range of designs such as sculptures, interior and exterior designs as well as prototypes. The studio bridges a path between mastered traditional techniques and innovative, state-of-the-art metalworking equipment. As from , La Fucina di Efesto has dedicated itself to research and experimentation in fields concerning iron and metals with great passion and skill. The research of La Fucina di Efesto gives a concrete and visible shape to the knowledge of matter and its transformational principles. Thus, the experimentation applied to metal sculpture and design goes through unexplored creative techniques.
As part of its Studio Collections , La Fucina di Efesto examines many metal sculptural and pictorial properties. The workshop seeks to combine aesthetics with functionality by drawing inspiration from ancient workmanship and testing a common language for sculpture and self-made design. This giant orchid made from stainless steel and bronze was shaped on a forge fire with a silver alloy. A rippling pattern was created by forging several pieces of metal with different compositions together. The sculpture has been finished with a mirror polish. This giant orchid made from stainless steel, bronze and copper was shaped on a forge fire with a silver alloy.
Alessandro Rametta Italian master metalworker Alessandro Rametta is a self-taught sculptor. He is inspired by the infinite expressive possibilities of metal, the distant memories that reverberate through the matter, the familiarity of a material that holds ancient secrets. Alessandro works in an intuitive manner, developing his own refined techniques while experimenting on the subjects that he believes to have the highest expressive potential to explore.
Alessandro founded La Fucina di Efesto over 20 years ago and has since been creating works for renowned artists and designers, including sculptures for collections in Italy and around the world. Alessandro places special importance on transferring knowledge and teaching, and places much emphasis on creative ethics.
Completely handcrafted, each brass cord is fitted with precision. The shape of the Filigree Mirror is a traditional one in Portuguese culture and art. A true work of art, this luxurious mirror plays tribute to Boca do Lobo's core values: heritage and craftsmanship. Furniture designers and manufacturers Boca do Lobo strive to encourage sensational experiences by creating beautiful pieces passionately handcrafted in Portugal by master artisans who love what they do. Their designers possess an undeniable talent for composing pieces that stir emotions. Boca do Lobo artisans' knowledge, accumulated over years of experience, is imparted with love through their craftsmanship.
A dynamic process of innovation, within both technology and design, forces Boca do Lobo to continually reinterpret the brand. No detail or element is overlooked as they offer the very best pieces at the frontier between design and art. Filigree is a delicate jewellery technique used to work precious metals. Skilled artisans painstakingly solder tiny beads and twisted threads to create striking motifs, evocative of an intricate lace-like pattern.
Boca do Lobo Furniture designers and manufacturers Boca do Lobo strive to encourage sensational experiences by creating beautiful pieces passionately handcrafted in Portugal by master artisans who love what they do. He masters several jewellery techniques, predominantly the delicate filigree technique. Trained in the North of Portugal, his art represents a fine narrative in a new generation of artists. Rui emphasises his creative expression and his designs are essential for the development of fine art.
As an artisan developing high value jewellery concepts, his knowledge is perceived as equivalent to the preciousness of the materials his works are made from. She wanted to build a piece larger than she had ever built before. She added segment after segment until the final shape materialised. Consequently, she had quite a few problems fitting it into the kiln. During the firing, she was impatient to see the final result and upon opening the kiln found a large pile of broken fragments.
Patience, experience and the joy of experimentation form the basis of this series. Claudia Biehne builds her porcelain sculpture by assembling numerous pieces of intricately worked porcelain. Claudia Biehne builds her porcelain sculpture by assembling numerous pieces of intricately worked porcelain piece by piece. Porcelain is worked in a modern way articulating her signature. Claudia takes great pleasure in experimenting and is simply curious to discover and push the limits of what is possible.
Her works draw inspiration from and reflect natural marvels and developments, because she finds in nature the archetype of all creations and the cradle of experience. The porcelain studio located in the former cotton-spinning mill in Leipzig, is open to visitors. Gathering Places Grammar of Ornament - India ii was created as part of a collection of works that build upon an ongoing interest in the pattern book "The Grammar of Ornament" by Owen Jones.
Looking specifically at plates 49 to 55 covering Indian Ornament, this new collection reflects on those motifs and patterns in relation to recent travels in South West India, re-interpreting these experiences to create playful and intriguing ceramic forms and surfaces. She combines studio-based practice with site-specific projects. Frances uses drawing and ceramics to explore and interpret languages of ornament from different cultures, places and periods in history.
From her Edinburgh studio, she creates ceramic objects using clay as a canvas on which to build surfaces of inlaid line, coloured glaze and enamel decals. The relationship between making and drawing is essential to these explorations, with ceramics as an ideal material to push between the two states. She lives and works in Edinburgh. The works are hand shaped on a lathe. An alabaster block is placed on a lathe that rotates the stone at controlled speeds.
The surface of the alabaster is then slowly chiselled off using the power of the rotation against the chisel.
The finished bowl is then sculpted by hand and finally polished using traditional techniques. Her works enhance the qualities of the materials she works with and demonstrate the transparency of alabaster. Gloria started to work with alabaster from an early age.
Her works have a feminine style and distinguish themselves with elaborate floral motifs and carved embroideries. The considerable experience that Gloria has gained over many years permits her to realise increasingly complex objects. Her works also draw from the professional knowledge of two master artisans in Volterra, turner Cerone Homer and ornament worker Gazzanelli Renzo. Gloria has been awarded a number of prizes throughout her career such as the Gremigni Award.
She has participated in numerous exhibitions both in Italy and internationally. She stumbled upon this material quite by chance and found that she was attracted to it as a counter option to traditional textiles that share numerous similarities as well as differences with feathers. Feathers are soft and translucent and can be transformed into soft surfaces.
She develops and invents new skills and techniques in order to provide a very personal, innovative vision of feather work for the luxury, fashion and home decoration industries. This experimental and technical approach to feather work gives life to extremely visual pieces with sometimes very surprising purposes. She is both an artisan and designer. Since , she has been working with passionate clients such as collectors, interior designers and highly demanding fashion houses or luxury brands.
Juliette uses the vessel form as a canvas on which to explore how we experience our emotional and physical place in the world and how we negotiate the interface between the physical world that surrounds us and the intangible worlds of emotion, belief, thought, language and memory. Focusing particularly on lines and thresholds, her vessels explore notions of function rather than function itself. These are hand shaped using traditional techniques.
Seams are integral to her work and are made using silver solder. Juliette Bigley Juliette Bigley is a master metalworker who works with base and precious metals. Juliette creates sculptures that are both familiar and abstract, re-interpreting recognisable forms of containers to create ambiguous spaces that question how we relate to the physical world around us. Her works place a strong emphasis on lines and thresholds. At the heart of her works are three relationships, those between people, that of the objects with other objects and the relationship between people and objects.
Juliette initially pursued classical singing and then healthcare management. She chanced upon what would become her love for metal during evening classes. Karen Lise Krabbe carries out a sort of unorganised material research within the silica group, a group with properties strongly related to those of glass. Her work revolves around the creation of composite materials, whereby two materials merge together to create a third new material with different properties and expressions. She builds layer upon layer with two materials using sand as a freely shaped mould to place and contain each layer before it is fired.
She explores these composite materials, some of which are ancient and have been used before, others of her own creation. She exposes them to traditional glass and ceramic making techniques, and other techniques that the material spontaneously leads her towards, with often unexpected results.
Karen Lise Krabbe starts to build her works using powdered glass, silicates as well as bio-materials and small elements. She builds layer upon layer, initially creating a two-dimensional surface, before each added and melted layer gradually shapes the piece into a three-dimensional sculpture much like a 3D print.
Her works focus on the use of composite materials where two or more materials melt together and form a new one with other properties and expressions. The baseline in all of her works is characterised by intensive material research. She principally uses glass, silicates and bio-materials. Her handmade 3D-print exhibited at Homo Faber is characteristic of this.
Karen runs her own workshop in Aarhus, Denmark and is often presented at international and national exhibitions. She exposes them to traditional glass and ceramic making processes, and other techniques that this material spontaneously leads her towards, with often-unexpected results. Lorenzo Passi's work investigates the multiple dimensions of memory, creating sculptures that reflect upon the past and on the inevitable loss of the data upon which memory is built. Iron rods used to make reinforced concrete are cut and shaped. Lorenzo prepares the glass and hand-blows glass directly into the metal structure.
Iron rods usually used to make reinforced concrete are cut and shaped. Lorenzo Passi Sestiere S. Marco Venice lorenzopassy gmail. He started training in techniques for manufacturing blown and solid-worked glass. While in Finland Lorenzo began experimenting, matching blown glass to other diverse materials such as metals and wood. This technique would become the basis of his poetic creativity. Upon graduating, he returned to Venice to the workshop of Archimede Seguso and Zanetti glassworks.
Lorenzo held his first exhibition in and has since exhibited his works internationally. In pre-Christian Europe, it was believed the spirit of the wheat lived amongst the crop. At harvest time, corn dollies were braided from the last of the crop, to give the spirit a home for the winter. When spring came, the Corn Dolly was ploughed into the first furrow of the new season.
Malene Hartmann Rasmussen creates a place beyond reality, a deceitful echo of the real world, that bends the perception of what is real. She wants her work to look like a very skilled child could have made it, clumsy and elaborate at the same time. Hand-modelled ceramic sculpture using basic coiling and sculpting techniques. Details are sometimes added using spring moulds. Larger pieces are often made from smaller parts. The ceramics change when fired, as a soft and malleable material is transformed into a hard and static one. Malene Hartmann Rasmussen London based ceramicist Malene Hartmann Rasmussen works with mixed media sculpture, making and arranging multiple components into complex narrative displays of visual excess.
The dialogue between components and the way one's unconscious can direct the composition interests her. Her works evoke visions of excess by merging several seemingly incompatible worlds. Memories, daydreams and childhood nostalgia are all called upon by the artist who weaves them together into a fairytale of her own making.
Her surreal narrative is an eclectic collection of ideas comprising mythological creatures, popular graphic culture and her own childhood in rural Denmark. Rowan Mersh's experience in experimental textiles is immediately apparent in his wall-mounted, sculptural assemblages. Rowan builds his shell sculptures with a two-part epoxy resin and a hybrid silicone adhesive.
Using a combination of two-part epoxy resin and a hybrid silicone adhesive, each shell is manually glued together. As layers of the shells build up, the inherent curvature of the shells informs the three dimensional aspect of individual forms. As one form is completed the next is born, so shell by shell the sculptures organically evolve as a collection of self-informed brush strokes. His diverse and experimental approach to creation is epitomised by his ability to take very ordinary materials and transform them into the extraordinary. She then develops it into a new form through a series of fragile and jagged lamellae placed around the hard core.
Sandra is motivated by the continuous exploration of new variations of the basic form, the movement and dynamics, the beauty, strength and frailty of the material. Sandra Davolio begins by kneading the raw material and working the clay on a wheel to create the inner core of the object. When the core is moulded into the desired shape, lamella-like structures are added in a spiral-like manner around the surface and then made thinner with handwork and water. The object is then polished with sandpaper, to achieve a smooth and clear surface.
Sandra Davolio Kigkurren 8D, kld. She then established her studio in Copenhagen. Through her work, she engages with various classical ceramic and porcelain making techniques, creating an innovative style that reflects a subtle Scandinavian influence. A recognisable shell or vase-like shape often makes up the founding structures of her works. The delicate exterior porcelain form of her works, covered with numerous juxtaposed porcelain flakes, creates a wavelike effect.
She then develops it into new forms through a series of fragile and jagged lamellae placed around the hard core. Sandra is motivated by a continuous exploration of new variations of the basic form, the movement and dynamics, the beauty, strength and frailty of the material. A spontaneous and instinctive feeling, together with a sense of beauty, elegance and balance of volumes, guides her toward the final result. Theodora Chorafas understands her works as the expression of the variations within her very self. Material and shapes that might previously have been perceived as rigid and cold are converted into fluid and organic forms with colourful and white segments that tie the sculpture together.
The sculpture is made from strips of clay that have been flattened out by hand. These strips are then joined to form a hollow circular shape. The fragile sculpture is made on its side. Only once fired can the piece be lifted to stand vertically onto its final position. Theodora Chorafas From her early childhood, Theodora Chofaras has led a nomadic lifestyle and considers herself a citizen of the world. She studied ceramics in London at the Camberwell School of Arts and Crafts between and and subsequently in Faenza in the Centro di Addestramento Professionale until Her works vary between objects and installations, performances, function and concept, timeless tradition and deconstruction of forms.
Theodora works from the island of Aegina, Greece. She also dedicates herself to transmitting her love for ceramics through the teaching of a next generation of ceramicists. Her work is exhibited internationally and has received numerous awards. A boat steeped in history and iconic symbolism from antiquity to modern times. Philip Baldwin and Monica Guggisberg's ship carries amphorae and relics, which in themselves carry the grains of human civilisation in all its complexity through the ages. Homo sapiens is fundamentally a nomadic species, as such The Long Journey is a reflection of today's poignant circumstances surrounding refugees, migrants and displaced people fleeing for their lives.
And yet, these people also carry with them the hopes of humanity, and, individually, the hope for a better life with new horizons and dreams. The boat has been constructed by several people in several different locations. The largest amphorae were mouth-blown in wooden moulds at the Hergiswill Glass factory in Switzerland. The next two largest ones were blown freehand at a studio in Basel, Switzerland by Matteo Gonet, and the smaller vessels and artefacts were free-blown in Paris at Monica and Philip's studio.
Their story can be described as nomadic, a notion intrinsic to many of their works. Their journey has brought them to explore glassworks through numerous angles and techniques.