During her first solo show, the artist Guendalina Cerruti (Milan, 1992) exhibits an installation composed of six works: four sculptures and two paintings, in which she investigates the delicate transitional phase that takes a mother and her son through the symbiotic path starting from her pregnancy to the first parting – a perceptible study on the primary nucleous fragmentation and on the slow recognition process of another diversity.
Her aseptic and iconoclastic works, minimized by geometric pastel coloured interferences, describe a primordial iconografic range where every set up is an objective obstacle to the physical contact, a generator of both distance and real – or imaginary – wait. On the floor, the softness of the shaped stretch polyester strides with the filling stone material; a metaphor on the experience of detachment seen as a fragmentation but also a consideration on how to contain a fragmented material.
The dreamy and tender feeling linked to the maternal universe experiences a sudden stop. The incubator is empty, the children, who represent the splitting of the I-myself unity, are antropomorphous bags full of stones and in her paintings, the bundle, allegory of the birth, becomes only a zenith sign and unreachable for one’s sight.
We can expect the approach to real life and the detachment from the uterine environment as violent as a heavy burden which has to be beared for ever.