GLASS Art glass in Italy today

GLASS Arte del vetro oggi 2016
 a cura di Jean Blancheart  
dal 25 Maggio all’ 11 Settembre - Villa dei Vescovi - Luvigliano - Padova

Nives is one of the artists invited to this exhibition on the glass of the author. Important exhibition of works of art, signed by the most famous glass masters of contemporary art, curated by artist and gallery owner Jean Blanchaert.

The artist

Hot Worked Fused Cast Glass is a process defined by Artist Nives Marcassolli creates her many layered suggestive glass fused. Glass is her medium and through the use of fire she transforms this medium in all forms, from powder to sheet glass, into layered and suggestive pieces, wherein an image is trapped in time, encased within the layers of rich colored glass. In order for Nives to get the movement on the surface of her pieces to resemble the surface of a moving undulating body of water, she has experimented and put to work various techniques which she refers to as Hot Worked Fused Cast Glass. The process is dynamic and intense, imagine pouring from a 25 kg crucible glass at 1200°C ! This little lady rocks!



October 26 | November 17, 2013

Sixth race at the 3D Gallery in Venice Mestre with the exhibition UNIVERSAL research project conceived and curated by Adolfina De Stefani, in cooperation with Mismomatic and , as an observatory on contemporary trends , focusing on multilingualism and the necessary exchange of knowledge specific to the particular historical and artistic heritage.
The cycle of meetings ideally want it to latch on to the theme of the 55th Biennale of Contemporary Art in Venice , becoming, in the microcosm of the exhibition space and the heterogeneity of the events that will be hosted in it , Encyclopedic prophesied by the metaphor of the Palazzo Marino and Auriti of ' utopia of a place immense and complex temple of making art and producing food for cultures shared.
Saturday, October 26, 2013 (starting at 18.30 with a critical presentation by Silvia Ferrari Lilienau ) exhibition space will house the exibitiono TRA- SPARIRE of Nives Marcassoli.
Amongst the possibilities that glass offers to those who model glass, Nive Marcassoli’s favourites are two, however antithetic converges: interpretation of transparency and the disappearance of an image immersed in a glass paste. Mostly hands, or body elements, echoes of a human presence, which float within the watery semblance, rippling and changing directions, they merge and become more viscous. Colours flutter with the waves or plunge deeper. There is a strong material component, in the abstruseness of Marcassoli’s choices, occasionally square shaped, as if she were reinventing a post-modern theatrical metope. The balance of the profile contains a treacly exuberance a venturesome virtue which flees meditation. Hence, the result of a risk excels a mere ornament, caramelising crystalline features of glass. Marcassoli treats these glass compositions rather like panels of 15th century Flemish paintings, as though pursuing to conceal, allowing the underlying layers to emerge within the brightness of the surface. There is also the symbolic value of the hands, in the pursuit to coincide support and contents, through a candid research in which material and figurative fragments merge. The hands which appear or seemingly recede, speak of their actions, affectionate embraces or loyalty, becoming an arbitrator of fellow beings. The graphical profile immerses within the fullness of the glass, at the same time encompassed by the decisive geometry of its perimeter, or even restrained inside margins of irregularly distributed bubbles. Because the idea is clear, but its ethical importance is much more complex, as elaborated by Marcassoli’s technique, which accosts drawings and fusion to casting and molten handcrafted creations. The result therefore has an objectified consistency but also pictorial evidence, with the purpose of transmitting a message, whether acknowledged as a memento or to stimulate thoughts. Marcassoli work style is material, iconic, and conceptual, of sedimentations which grow and increase, sometimes on the verge of excessive, three-dimensional fossil reminisces which reiterating, progressively fade, but not before being eternally impressed.

Silvia Ferrari Lilienau

3D Gallery
Via Antonio Da Mestre, 31
Venezia Mestre

O smagià la tuaia

Wine poured in art, Action Painting. Stradella (PV), 7 September 2013.

Pour the wine on the tablecloth is the inadvertent gesture which becomes, for artists, an instrument of provocation. The stain is no longer the result of a gesture not wanted Rather it is the consequence of an action that is desired by the subconscious of the artist and as such exposed, as a true work of art."

Vissuto silenzio - Lived silence

La città di Loreo in collaborazione con il Ristorante Cavalli e l’Associazione MISMOMATIC presenta:
“Silence with Colors | Colors of the silence” progetto di ARTI VISIVE Collettiva presso sala espositiva ristorante Cavalli, 16 Giugno-17 Luglio.
Opening: 16 june 2013 at 21.00.
A cura di Adolfina De Stefani e Enzo Barion.
Taking into account the place intended as a geographical area where many writers and artists of various trends have dedicated and described, the invited artists from various backgrounds have worked on the concept of hybridization between art, respect for the environment and the reflection that comes with it.
The group proposes a reflection on the culture that the town offers to the visitor, on the language of colors that alternating between winter and summer, and the thought that the poetic landscape views forward. An exhibition that can do reconnaissance to a culture of continuous change. The exhibition allows a reflection on the different historical and artistic avant-garde and allows you to approach the “Polesana” culture and the attention of the contemporary thought.

Lived Silence
The man and the river accompany it, side by side in a silent way. A constant give-and-take of large promises, thoughts, dropouts and research. Each shiny mirror in surface, a tangle of deep emotions inside.

Un giorno di paga - A daily wage

A woman working at a loom: “The first time I entered Zopfi… was on my 14th birthday… but my mother had been working in the textile mill since 1914 when she was only 12 years old ”; women and young girls which after a brief apprenticeship began to work on the machines, on the spinning wheels and on the looms. An opera that tells a story, a different ‘story’ because it is unwritten, dismissed, and ordinary and perhaps for these very reasons, finally worthy of being narrated. A visual and vibrant poetry, where sensations and sentiments merge, like the complex and fascinating pre-fusions which give life to Nives’ unique creations.

Possibili traiettorie - possible paths

Forever children, with a bold gesture. The challenge of the force of gravity, the miracle of balance, suggested by the same, delicate form of glass. Stubbornness and amazement, accompanies one of the most common games : an opera as a metaphor of the obstacles to be overcome in life. Towards newPossible paths.

Di fuoco ed acqua - Of fire and water

The 12th of May La Galleria Nove Colonne/SPE/ II Giorno, opened Nives Marcassoli’s exhibition an artist from Ranica (Bergamo). 
The exhibition will be open until the 31stof May. Marcassoli will be exhibiting glass sculptures that she has created between 2010 and 2011. As Gualtiero Merati writes: “Nives Marcassoli began her artistic career by painting. She uses a glass fusion technique which she started to study during the 1990’s. Especially noteworthy, amongst her many operas, is the stained glass window of the Church of SS Crocifisso in Pavia, which she projected, prepared and installed single handed.
This artist, from Lombardy begins her creations by drawing a picture on a thin sheet of glass. They are drawings of hands, conversing, touching or embracing, drawn with clear decisive strokes, almost hyperrealistic. To this sheet of glass she adds transparent and coloured glass chips, which is heat fused and shaped (Hot work) resulting in a work of art with an unmistakable atmosphere. Finally, the creation is cold worked (grinding, sanding or with the use of acids) The surface of these sculptures recall rippling waters, such as when a pebble has just skimmed a surface, leaving concentric circles. This opera which gave origin to all of the others is amongst the exhibition and is easily distinguished for its striking diversity, both in shape and colour. On the other side of the gallery some of the artist’s drawings are exhibited. This exhibition is without doubt an exhibition which invites us to discover this innovative technique and enjoy the enthralling results, sending us into a subtle, emotive dimension

Vitro Festival, Romont

Collective exposition at the Vitromusée in occasion of the "VitroFestival" in Romont (Swiss). 
The Symposium: glass as creative element in architecture. An important conversation between artists, glass professionals and architecture professionals. 
The Gallery: more than 100 works of contemporary glass artists, in different spaces in the city of Romont, with the presence of the artists themselves.

Profondo sentire - Profound sentiment

Forte Marghera – Venice October 2010, curated by Adolfina De Stefani e Barbara Codogno. 

Participation in a collective international project WALKING-LAB: Melting pot-creation of artist's thoughts, the project WALKING FREEDOM FORT Forte Marghera, VE 2010. 

PROFONDO SENTIRE/DEEP EMOTION, An oblivious herald becomes a fluttering of wings, awakened by the rustling for freedom that stirs still waters, ready to move on. Hot-worked glass, wood carvings, feather.

Di vetro e d'acqua - Of fire and water

Glass sculptures to capture the sky, to unite with the earth, to dominate fire - to express her belonging with water, the element in which her work and her spirit find place: hers are Water thoughts. Shapes - to make you feel one with Nature, to mark a memory, an emotion, to tell a shiver, an irony at times, to describe the place where Nives Marcassoli lives and works. There where the river flows, where the grass grows on the ditches and the croaking of tree frogs can be heard. An hymn to Nature, nourished by the Sense of Light, that transfigures the shape to enclose light, so as to let it filter through the glassy mass and keep it within. The effects are extraordinary, summoned by a wise alchemy and pervading all molecules, like reflections imprisoned in a treasure chest, in a glass prism, that returns purity. 
Glass: the medium with which Nives expresses her talent, the glass so celebrated throughout time. Glass, that ancient and prodigious matter known in days of yore, charms the artist, who starts from an undefined mould and bestows a soul on the shape, born from the fusion and assembling of cut glasses. Nives senses her work by intuition, she elaborates it with her thought, then gives in to her creativity and leaves the final touch to the fire, guided and controlled with skill. And it is exactly to the secrets hidden in her strength, to conferring with the mysterious god, with the element that shapes and melts glassy matter, that she commits her project, her work. Nives's passion looks at a glass. Sculpture without being satisfied with a shape born by chance: she creates a second one, then a third one and even more, if the result is not what she desires. Towards the possibility of shaping the idea, of confirming the signs, the colors, of hosting metal elements, of creating smooth surfaces, but even rough or jagged ones. Giving birth to light shapes, transparent like organdie, like laces in a doll's dress: thus, a sculpture made of light, fragile and pink, by the name of "Passione d'organza". 
And the glassy substance brims with color, it discovers its new identity, it transforms - abiding by the will of its creator - it transforms to meet a new expressivity as it bestows beauty. It is a result that stems from challenges, because this is the only way this woman can feel alive: it is the strength that urges her to overcome the limits, those of physics, those of the mind. It is there that Nives' work finds its roots. That élan towards continuous researching, towards creative action that accompanies man since the dawn of life. Charmed by glass, her passion for a long time, she gives life to (common) objects, brimming with intense chromatisms and elegant signs. Sculpture is then her natural landing place. It is not me that looked for it, it is sculpture that found me, as she herself said. Ail her preceding work and her latest devotion are the manifestation of but one language, a hymn to life originating from matter itself, a hymn to light - that gives expression - to water - that generates life itself - to the sky above us - where souls die. Life is a flimsy place, the sky is so close, as a great Italian photographer wrote. The stylistic figure of this eclectic artist describes a work in fieri, flush with stylistic references and solutions, profiting from noteworthy technical capabilities and creativity: a path, on a quest for a new three-dimensional expression, under the sign of an ancient modernity.

Love Art 2

Scorzé -Venice April 2010 curated by Cecilia Ci. 

DIMMI SI (Tell me YES) It is the unreal colour of the heart, the transparency of a feeling, the strength of love hardened like iron, the prayer and the hope of a YES. It is the baited breath of he/she asking for a chance to abandon themselves to love. It is the key in the drawer in which a disappointed lover closed his/her heart. They are words yelled in hurt with the secret fear-hope that someone may find the key words again, and that someone may help us to say YES again to Love.

Giochi Sospesi - Suspended Games

Ranica-Bergamo Cultural Centre ”Roberto Gritti” February 2010

In the beginning of the 1900′s, many children in Europe quit playing early on to go work in the textile factories. Still today, many children in the world are destined to interrupt their age to play in favour of work and exploitation. With her experience in Hot casting, Nives has imprinted in the glass the highly expressive signs of an exploited youth, thereby giving a voice to an all-too current topic. 

This sculpture reproduces and reinterprets the WORLD game (hopscotch), which we all know and have played in all continents since ancient times. From then until now, it has covered all the roads of the planet, and its form can be found, drawn with chalk or sticks, wherever children live. Its deeper and initiatory meaning has brought me to reflect on the condition of childhood from the early 1900's on As we have all played this game at least once in our childhoods, we know that one jumps from square to square, balancing oneself on one leg. I've interpreted this as a symbol of a childhood that is precarious, balancing itself between hunger and fieldwork, between the promise of a better future ahead and the effects of increasing industrialisation. The youngest workers of the Gioachino Zopfi spinning and weaving factory, in Ranica, Italy, in the early 1900's, had to suspend their playing at a very early age. These children's already precarious health was threatened by dangerous and hard work, in unhealthy conditions. In this work, I imagine a 10 year old boy who throws his stone in square 3 and starts on his way. One of the rules of this game is that if you lose your balance or you step on a line, as he did in squares 4 and 6, you have to start over. For him, this meant jumping from childhood to the world of work. I found the healds that I put in front of square 6 in the storerooms of the modern-day weaving in Ranica. They were used by the the Zopfi workers until 1983 in learning how to use the weaving mills. The price of the material is on square 8, reminding us that the workers (children included), worked up to 14 hours a day. Children were often victims of accidents of varying degrees (as can be read in the square with a document from the Ranica Archive with the company stamp -Gioachino Zopfi- factory in Bergamo, August, 1899- “Michele Piazzoli, 12 years of age, spinning worker for Giò Zopfi in Ranica, accidentally suffered from a wound in the sole of this left foot on the 9th of August. The wound will require about 10 days to heal. For Dr. Gandolfi… undersigned”). Although this reality seems a distant memory to us now, in many countries of the world children are still forced by adults, or by necessity, to SUSPEND GAMES. The continents are depicted in square 9: the more intensely coloured areas represent the still high percentage of child labour. The blood-red footprint and the shape of the game as I have depicted it recall the cross and represent a childhood and carefree spirit that have been suppressed and mortified. In the last square, one can just see, or think they see a word…..CIELO (sky)…. It is the symbol of a sky and of a serenity that are barely legible in the destinies of many children in the WORLD. Still today, many of them are not allowed to reach, jump by jump, struggle by struggle, the square we all aspire to reach from birth: a serene and reachable SKY.