Il gruppo dei professionisti italiani in Olanda
L’Istituto Italiano di Cultura presenta la partecipazione dell’artista Gaetano Di Gregorio alla mostra collettiva internazionale “ The Return” che avra’ luogo dal 7 al 29 maggio nella Mesdagzaal del Pulchri Studio a L’Aja. Sei artisti internazionali si confrontano sul tema del ritorno: la svolta, il desiderio di tornare in un determinato momento, in un determinato luogo o situazione o in uno stato dell’essere ancora disinibito. L’attrito tra ciò che è e ciò che è desiderato. Saranno esposti i lavori di altri cinque artisti internazionali: Ruth Biller (Germania), Sina Dyks (L’Aia), Boukje Janssen (Amsterdam), Ekin Su Koc (Turchia/Germania) e Brigitte Spiegler ( L’Aia).
Direttrice / Director
Istituto Italiano di Cultura di Amsterdam
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Gaetano Di Gregorio (Catania 1972), lives and works in Venice, where he studied architecture at IUAV. His professional agenda includes architecture, product design and teaching. As architect, he mostly works in Venice in interior design. As product designer, he is specialized in ceramic design. He also self-produces limited editions or small series, for galleries and collectors.
He coordinates the Interior Design triennial course at IED in Venice, where he teaches Design Methodology. In 2003 he founded Spiazzi Association, an independent cultural center for art and design in Venice. In 2006 he went to Jindezhen, China, where he spent 4 weeks in arte residency, learning and practicing the porcelain techniques.
In 2008 he showed his first design collection, including vases and teapots in Salone Satellite, a well known platform to promote young designers during the Salone internazionale del mobile in Milan. Since then his work is currently showed in Milan, during the furniture fair and abroad. It has been published by design magazines like Interni, Ottagono and others. Some of his works are included in public and private collections as the Art Institute of Chicago.
In 2015 he was invited to a Ceramic Symposium in Dehua, China, where he spent 2 weeks in art residency. In 2019 he started working with clay mix and patented in 2021 the Lapidea ceramics, a kind of stone looking ceramics manufacts.
Works on display by Geatano di Gregorio is the Lapìdea collection.
[A job on material and time]. Clay is a plastic material, which for millennia has been molded, imprinted, casted to make products or artefacts. My current practice investigates the qualities of clay as a material and transforms the craft making in a sedimentary process, accumulating, mixing and aggregating instead of modelling. Clay is brought back (returns) to a mineral state. Inspiration comes from rocks and stones. Some of them are assembled by long term sediment accumulation. Some others have a volcanic origin, modified by high temperatures. It is approximately the same process occurring in the kiln.
Clay waste and semi-finished products for construction are mixed, recycling all parts, nothing is lost, everything is changed. Works are fired and patiently sanded in order to highlight the random beauty of the assemblages and making them look like fantastic stones. Clay becomes stone and suddenly terrazzo or palladiana, imitating the traditional construction techniques and challenging their own limits. Inside the boundaries of ceramics crafting, the designer- maker constantly transfers references and techniques, basic materials and products, inspirations and results, inputs and outputs.
Gaetano di Gregorio focuses on the integral qualities of ceramics as the millennia-old material that is transformed through the acts of mixing, massaging, and aggregating. The ceramics return to a mineral state and in his artistic work metamorphoses from material to shapes, however, always remains true to its origins while uniting the architectural elements with classical forms. The material itself becomes the artwork as a result of this process that geographically combines eastern and western ceramic traditions while recurring in different forms throughout time. The malleable material of clay has been molded, imprinted, and cast—in short, it has been on a constant route to a return, to a transformation. Placed at the crossroads of an archeological find or belonging to the house of the future, di Gregorio’s body of work stands firmly at the intersection of archeology, architecture, art, and design.