Our most recent artistic pick is Milan-based, London-educated artist and sculptor, Benedetta Mori Ubaldini.
There is something strangely intriguing and mesmerizing about her chicken-wire sculptures.
Trying to put our finger on it, we came up with more than a few explanations why we love these so much.
One appealing aspect is that they look somehow unfinished and raw. The wire frame is usually the part of a sculpture we do not see. It is not the final product. And yet, these airy and lightweight pieces seem to lack nothing at all. They are very much finished and completed.
And the lightness and weightlessness, that floating feel, is another endearing quality. These pieces seem to be almost nonexistent. Barely there. About to disintegrate and vanish.
And that fleeting property of Ubaldini’s work is yet another reason why we cannot take our eyes off them. Something sneaky, shady, secretive and sly. Maybe even a bit evil and sinister. Maybe we shouldn’t be seeing these ephemeral sculpture innards at all?
Ubaldini’s work has graced store windows, art galleries and event spaces in many countries, and two of her smaller pieces are even on sale at Magis Me Too as decorations for children’s rooms.
In their incredible simplicity, her wire-frame, 3D-pieces leave us much room to interpret and come up with our own viewpoint. Is it good or bad, happy or sad, fun or sinister, serious or just plain playful junk?
For some reason, we want to take this artwork very seriously. We want her to do larger installations. Massive worlds and environments.
After all, if an artist’s work gives us reason to ponder, consider and think, it has given us the best gift art can give us. — Tuija Seipell.
