Atzeni Sarah

Atzeni Sarah

Biography of Sarah Atzeni

For me sculpture is passion, commitment, but most of all freedom ,freedom of express myself,here I can express my thought ,dreams...secrets,feelings free themselves ,things that we can't touch or see become shapes.
Like  Henri Moore saids ,the observation of the nature is crucial in an artist life,especially in my case.Thanks to that who start sculpting enrich his knowledge of the form, finding feeding for the inspiration and keep the freshness of his vision ,avoiding to crystallize in the repetition of the formulas.
My objective when I work is to be able to deeply join the abstract principles of the sculpture ,with the realization of my idea, and this is the point when comes into play the matter: the marble. It guides me in what i'm doing , it decide,and I listen to it ,understanding that what the marble suggest is better then my starting idea.
All the art ,is kind of  abstract, if only for the material itself which ,especially in sculpture,is enough to drag the artist away from the mere representation and drive him towards the abstraction.Although abstract qualities had an essential role in the success of the work,the psychological element is not minor.The fusion between abstract element and human element ,indeed,  give the pice fullness and deepness of meaning.
In my opinion the pice needs to have a proper life and the possibility of encapsulate energy ,a life that belong to it ,unlinked from the object it represent.
When a pice have that powerful vitality is not defined by the word “ beauty” but has power of expression.Inside that we can find a spiritual vitality capable to  engage   a deeply implication which will be a an efficient tool for dig inside the life,not just aesthetic training or a decoration of the reality with pleasing form and colours ,but the expression of  life's meaning,the exhortation of commit to it with more intensity.
There are some form that talks at a subconscious level and is in that form that I express myself at best .Universal forms in which everyone is sensible and the answer to that form could exist only fooling  the conditionings of the gaze exercised by the consciousness.
Developing my kind of formal manner representation, comes natural the need of simple and always new languages, becoming  ,in may later analysis e proper language ,expressed in a coded form ,a total made up alphabet.
The needs start not from valorise totally the form but from increasing the value of the stroke that make that totally made up alphabet.Each letter is not inspired from the original letter form ,but take inspiration from what each letter give to me at a subconscious level ,so in deeply personal but can be interpreted from the outside, i don't want to hide  the message but give to it a deeply meaning, like silence talks about feelings, like notes on the score.  

Education and qualifications
2004   Graduated at Istituto Statale d’Arte  of Massa
2008   Three-year degree in  Sculpture at  Accademia di Belle arti di Carrara
2012   Two-year degree in  Sculpture at  Accademia di Belle arti di Carrara

Solo and group exhibitions
-International fair Marmotec, Marina of  Carrara, Italy
-Collective exibition ´Il mestiere della scultura´ Torrita di Siena, Italy
- Collective exibition in  Ingolstadt, Germany
-Gallery B. Haasner Wiesbaden, Germany
- Collective exibition Parco Pazzagli,  Florence, Italy
- Collective exibition Art Center Berlin, Berlino, Germany
-I V International Sculpture Symposiun of alabaster, Volterra, Italy
- Collective exibition  Pinacoteca Civica di Volterra, Italy
- Biennal “Pietra lavorata 2007”, Italy
-First price at  Alsoors 2007: V International Sculpture Symposium  in Balatonfured, Ungheria
-II National Sculpture Symposium in Serravezza, Italy
-”Il salotto degli artisti” Fortezza da Basso, Florence, Italy
-IX International Sculpture Symposium in San Piero a Sieve, Premio Antonio Berti, Florence, Italy
-´Notte e Giorno, solo donne, la scultura al femminile´ Torano, Carrara, Italy
-First price at International Scupture Symposium of  Contemporary Art in red marble of Sassetta, Italy
- Collective exibition Castello Malaspina 2009, Massa
-Biennal “Pietra lavorata”
-´Imprimatvr´ Biennal of contemporany art , Chiesa Castello di S. Martino dell´ Argine, Mantova
-´Free Art´ Contemporaney art exibition, Club Nautico, Viareggio, Italy
-Gallery B. Haasner, Wiesbaden Germany
-“7 Anime”, Ugo Guidi, Museum,  Forte dei Marmi, Italy
- International fair “Tutto casa” Marina di Carrara, Italy
-“Viareggio Art Project” Collective exibition, Viareggio, Toscana.
-“Art for Aids” Malaspina’s Castel of Massa, Italy
-“Graphik- Malerei- Plastik” Gallery Brigitte Haasner, Wiesbaden, Germany
-“The marble’s colours” Personal exibition, Marina di Carrara, Italy
-International fair “Tutto casa” Marina di Carrara, Italy
-Marble Weeks, Carrara, Italy
-Biennal “Pietra Lavorata”, Castel San Niccolò, Italy
-International biennial of Montone, Italy
-“Art & Antique International”, Francoforte
-International fair “Tutto casa”, Marina di Carrara, Italy
-“Carrara Studi Aperti”, Carrara, Italy
- Collective exibition Sala del congresso of La Spezia, Italy
-III International Sculpture Symposium of  Ponte di Ferro, Carrara, Italy
-II International Sculpture Symposium by Hand , Carrara, Italy
- “Out Art”  Paretra, Carrara, Italy
- Gallery’s Cathedral, Carrara, Italy
-I International Sculpture Symposium  Egg R-Evolution, Villa Ariston, Lido di Camaiore, Italy
-“Dew’s skin” Personal exhibition in Ugo Guidi’s Museum, Forte dei Marmi, Italy
-“Studi Aperti” Carrara, Italy
- XXII International sculpture Symposium, Art in Stone, Wunsiedel, Germany
- I International Sculpture Symposium in Montemarcello, Italy
- II International Sculpture Symposium in Belpasso, Sicily, Italy
- 30 Years Galerie Haasner, Wiesbaden Germany
-Sardinia Sculpture Network, Year’s Brunch ’16, Teatre MoMoTi, Monserrato, Cagliari, Italy
-Artevera in Primavera, Galleria Intrecciarte, Pietrasanta Italy

Like a rolling stone
About Sarah Atzeni of Massimo Bertozzi

There is a statement of self-sufficiency in each pice of stone.
So, what  needs to be  added , wants a lot of care,a  sensible and modest language, like whispering mysterious words ,old mantra ,fragment of sacred scripts.
This is the reason why,in the sculptures of Sarah Atzeni ,is present a very precise concept of the light: the same light that makes the world visible and understandable.
This give her the power of investigate the develop of the organic forms without the need of copying real things , but making visible the plastic suggestions that the real things evoke into her.
From that arise original form,characterized by unexpected rhythms,mysterious and dreamed  figures, sustained by a bold concision and powered  by lyric tones more and more close and deep.
This is the reason why Sarah Atzeni has going on strengthening a style detached from the time and the contingency , which trust fully in the severity of the concept and the purity of the drawing, letting transpire a lucid effort of breaking the risk of the eloquence and hold the richness of the impulses that animate and sustain the flashy beat of the stone.
The rigorous balance of the forms ,steady in the volumes and airy in the ariculation's movement, let shine through the sensual emotion that feeds them.
In this search of  balance between logic and feelings,thinking and instinct, emerges a folk nature typically apuano ,especially for the sapid flavour of the image and the frankness of the language.
But there is literate and elegant taste of the hidden suggestions and the signs allusion,like those thin  carvings on the surface , using burin incision technique , remarks the urgency of the words ,but using a made-up alphabet understandable only by the artist.
On the motionless stone winter lies down , tamer of the flows and movements ,but sooner or later the wind of  thaw,the one that Nietzsche talks about,blow his warm breath on the rolling stones, intended for sculpting ,giving plastic form to the imagination of the artist.
We are dealing with images not with figures.
It's about facing the stone ,not to give it absolute and universal form,but for give it back his function  , of accepting forms and feelings of the nature: for Sarah Atzeni is not about reproduction, it's about creation.
Without paying duty to phisical reality , escaping from the hesitation of the realism and asking herself  unpredictable models ,where everything is needed and  nothing is foregone.
Her sculpture is a plastic system iterrupted but not uniform,punctuated by unexpected formal transitions, always subtracted to the awe and the awsomness of every plastic and organic input that comes from the natural world.
The consequence are a plurality of formal solutions always regenerated by a creative imagination ,powered by a great  spatial convolution and sustained by an interrupted rhythm ,and even when emerges some anatomical suggestion ,they are always punctual and precise,because the thing that remain intact is the volume's  capacity of catching  the environment lighting and the heavy dynamism of the strokes focus on expand the volumes instead of  encase them.

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