{"id":29469,"date":"2019-10-14T09:00:11","date_gmt":"2019-10-14T07:00:11","guid":{"rendered":"http:\/\/www.luigi-bevilacqua.com\/sghiribiss-patrizia-polese\/"},"modified":"2019-10-22T10:26:09","modified_gmt":"2019-10-22T08:26:09","slug":"sghiribiss-patrizia-polese","status":"publish","type":"post","link":"https:\/\/www.luigi-bevilacqua.com\/en\/sghiribiss-patrizia-polese\/","title":{"rendered":"From velvet to lamp: the story of Sghiribiss"},"content":{"rendered":"

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In Venetian dialect, the \u201csghiribizzo\u201d is a sudden idea, sometimes bizarre, and certainly unexpected. This is the name that Patrizia Polese<\/a>, textile artist, wanted to give to one of her most recent creations: a lamp, whose inspiration comes from the encounter with our fabrics. She will tell you how.<\/p>\n

A velvet lamp with a modern and unique design<\/h2>\n

A velvet lampshade is certainly not new in the world of furniture, although no one has ever used one of our velvets for this purpose. Or, at least, until the OltreDesign Festival<\/strong> last May, an event held in Treviso and during which our CEO, Alberto Bevilacqua, came in touch with Patrizia Polese.
\u201cAll credit to Alda Buzzetto, President of OltreSegno, the Cultural Association that organises the Festival\u201d, explained Patrizia Polese. \u201cShe arranged my meeting with Mr Bevilacqua, and she allowed me to interview him during OltreDesign. On that occasion, Mr Bevilacqua provided the association with one of the velvets produced by the Tessitura<\/strong>. I was then allowed to use it on a lamp that I had been thinking about for some time.<\/p>\n

But how was Sghiribiss born?<\/h2>\n

\u201cSome time ago, I happened to be in a shop where they were throwing away a lot of strapping (the thin metal strips used to close packages). I recovered and folded them using a technique I invented<\/strong>, which involves creating the wire in 3D. The shape of the lamp is the result of the technical characteristics of the material itself. A fundamental help came from the studio Donner Sorcinelli Architecture<\/a>, with whom I designed all the versions of the lamp: suspension, floor lamp, floor lamp, wall lamp and table lamp. However, the whole project was on hold until I got the fabric.
Using it, however, was more difficult than expected:
\u201cI have to admit I had a certain fear of cutting such a precious fabric! But I found another valuable help, in a craftswoman who makes wall lamps, who helped me cutting and applying the strips of fabric<\/strong> on the structure of the pendant lamp\u201d.<\/p>\n

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The work of a textile artist<\/h2>\n

Like many of Patrizia Polese\u2019s works – some of which you can find at the end of the article -, Sghiribiss is the result of \u201cthree-dimensional weaving<\/strong>\u201d.
\u201cThe three-dimensional weaving starts from a sort of jig on which I create the first interweaving, with the materials I have chosen. Above it I then create the subsequent interlacing, thus obtaining sculptures of large dimensions, such as Present, which measures 2\u00d72 meters, or smaller, such as Iris.<\/p>\n

Why did you choose this type of art?<\/p>\n

\u201cI\u2019ve always had a certain inclination towards fabrics: I studied at a tapestry school in Milan<\/strong>, after having worked for a long time as a restorer. Even during my studies, I explored vacuum and three-dimensionality, using very plastic materials. The choice of the tapestry school was very instinctual but, while I was attending it, I understood that my decision was rooted in my childhood, which I lived surrounded by threads. Let me give you an example: one of the materials I use for my works is sisal, which I chose for the first time instinctively, but then realising that it was its smell that attracted me. It is a fibre used to bind bundles of wheat, so its scent has reminded me of my childhood in the countryside. I feel the same sensations when I enter the Tessitura Bevilacqua: it always leaves me speechless, it\u2019s an all-encompassing sensory experience. It is, therefore, a great honour for me to be able to use their fabrics\u201d.<\/p>\n

Do you have any other projects in mind with Bevilacqua fabrics?<\/p>\n

\u201cRight now I\u2019m working on the other versions of Sghiribiss, using the fabrics provided by Tessitura Bevilacqua, which I\u2019m trying to enhance to the maximum. I believe they are suitable for many projects, including artistic ones, and this is one of the ways to link such an ancient product to the contemporary, as Tessitura itself tries to do\u201d.<\/p>\n

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Photo credit: Massimo Poldelmengo<\/p>\n

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How are Patrizia Polese\u2019s creative lamps born? The artist tells us about the process of making them, revealing the role that our fabrics have played.<\/p>\n","protected":false},"author":10,"featured_media":29420,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

In dialetto veneziano, lo sghiribisso <\/em>\u00e8 uno \u201csghiribizzo\u201d, un\u2019idea improvvisa, a volte bizzarra, e di sicuro inaspettata. \u00c8 questo il nome che Patrizia Polese, artista tessile, ha voluto dare ad una delle sue pi\u00f9 recenti creazioni: una lampada, la cui ispirazione nasce dall\u2019incontro con i nostri tessuti. Vi racconter\u00e0 lei stessa come.<\/p>

Una lampada di velluto dal design moderno e unico<\/h2>

Un paralume in velluto non \u00e8 certo una novit\u00e0 per il mondo dell\u2019arredo, sebbene nessuno abbia mai usato uno dei nostri velluti per questo scopo. O, almeno, fino all\u2019OltreDesign Festival <\/strong>dello scorso maggio, un evento svoltosi a Treviso e durante il quale il nostro Amministratore Delegato, Alberto Bevilacqua, \u00e8 entrato in contatto con Patrizia Polese.<\/p>

\u00abTutto merito di Alda Buzzetto, Presidente di OltreSegno, l\u2019Associazione Culturale che organizza il Festival\u00bb, ha spiegato Patrizia Polese. \u00ab\u00c8 stata lei ad organizzare l\u2019incontro tra me e il dottor Bevilacqua e a permettermi di intervistarlo durante OltreDesign. In quell\u2019occasione, il dottor Bevilacqua ha fornito all\u2019organizzazione uno dei velluti<\/strong> prodotti dalla Tessitura, che io ho avuto il permesso di utilizzare su una lampada alla quale stavo pensando da tempo\u00bb.<\/p>

Ma come \u00e8 nata Sghiribiss<\/em>?<\/strong><\/p>

\u00abQualche tempo fa, sono capitata in un negozio in cui stavano eliminando una gran quantit\u00e0 di reggette - i sottili nastri metallici usati per chiudere i pacchi, NdA<\/em>. Le ho recuperate e piegate secondo una tecnica di mia invenzione<\/strong>, che prevede la costruzione in 3D del filo metallico. La forma della lampada \u00e8 perci\u00f2 il risultato delle caratteristiche tecniche del materiale stesso. Un aiuto fondamentale \u00e8 arrivato dallo studio Donner Sorcinelli Architecture<\/a>, con il quale ho progettato tutte le versioni della lampada: sospensione, piantana, da terra, da parete e da tavolo. Tutto il progetto era per\u00f2 rimasto in sospeso fino a quando non sono venuta in possesso del tessuto\u00bb.<\/p>

Usarlo, per\u00f2, si \u00e8 rivelato pi\u00f9 arduo del previsto:<\/p>

\u00abNon nascondo che ho avuto un certo timore nel tagliare una stoffa cos\u00ec preziosa! Ho trovato per\u00f2 un altro aiuto prezioso, in un\u2019artigiana che realizza applique, assieme alla quale sono riuscita a tagliare ed applicare le strisce di tessuto<\/strong> sulla struttura della lampada a sospensione\u00bb.<\/p>

\u00a0<\/p>

Come nasce un\u2019artista tessile<\/h2>

Come molte altre delle opere di Patrizia Polese -alcune delle quali le trovate alla fine dell\u2019articolo -, anche Sghiribiss \u00e8 frutto della \u201ctessitura tridimensionale<\/strong>\u201d.<\/p>

\u00abLa tessitura tridimensionale<\/strong> parte da una sorta di dima sulla quale creo il primo intreccio, con i materiali da me scelti. Sopra di esso realizzo poi i successivi intrecci, ottenendo cos\u00ec sculture di dimensioni anche molto grandi, come Present, che misura 2x2 metri, o pi\u00f9 contenute, come Iris\u00bb.<\/p>

Perch\u00e9 ha scelto proprio questo tipo di arte?<\/strong><\/p>

\u00abHo sempre avuto una certa inclinazione verso i tessuti: ho studiato in una scuola di arazzo di Milano<\/strong>, dopo aver lavorato a lungo come restauratrice. Anche durante gli studi, ho esplorato il vuoto e la tridimensionalit\u00e0, impiegando materiali molto plastici. La scelta della scuola di arazzo \u00e8 stata molto istintiva ma, mentre la frequentavo, ho capito che la mia decisione affondava in realt\u00e0 le sue radici nella mia infanzia<\/strong>, che ho vissuto circondata dai fili. Vi faccio un esempio: uno dei materiali che uso per le mie opere \u00e8 la sisal, che scelsi per la prima volta in modo istintivo, rendendomi per\u00f2 poi conto che era stato il suo odore ad attirarmi: \u00e8 infatti una fibra che si usa per legare i fasci di frumento, perci\u00f2 il suo profumo mi ha rimandato alla mia infanzia in campagna. Le stesse sensazioni le provo quando entro alla Tessitura Bevilacqua: mi lascia sempre senza parole, \u00e8 un\u2019esperienza sensoriale totalizzante. Per me \u00e8 quindi un grandissimo onore poter utilizzare i loro tessuti\u00bb<\/p>

Ha qualche altro progetto in mente con i tessuti Bevilacqua?<\/strong><\/p>

\u00abProprio in questo periodo sto lavorando alle altre versioni di Sghiribiss, usando i tessuti forniti dalla Tessitura Bevilacqua, che cerco di valorizzare al massimo. Credo per\u00f2 che si adattino a moltissimi progetti, anche di tipo artistico, e questo \u00e8 uno dei modi per legare un prodotto cos\u00ec antico alla contemporaneit\u00e0, come la Tessitura stessa cerca di fare\u00bb.<\/p>","_et_gb_content_width":"","footnotes":""},"categories":[201],"tags":[],"class_list":["post-29469","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-furnishings"],"yoast_head":"\nFrom velvet to lamp: the story of Sghiribiss<\/title>\n<meta name=\"description\" content=\"How are Patrizia Polese\u2019s creative lamps born? 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