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CORRIDOIO FIORENTINO

PALAZZO BOMBICCI PONTELLI GUICCIARDINI STROZZI

Corridoio Fiorentino
Corso Tintori 21
Firenze Italia 50122

tel +390552469016 / fax +390552478068

info@fua.it

What is Corridoio Fiorentino?

Corridoio Fiorentino is the photographic gallery located at the DIVA/IDEAS campus that features the works of external photographers, designers, as well as DIVA/IDEAS students and faculty. Corridoio Fiorentino is the photographic gallery located at the DIVA/IDEAS campus that features the works of external photographers, designers, as well as DIVA/IDEAS students and faculty. Corridoio Fiorentino is a mirror through which Florentine artists, students, and faculty reflect their perception of the visual and digital arts and share it with the city of Florence.

Student Academic Involvement

Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Corridoio Fiorentino provides a physical venue and online presence for current and past exhibits created by established and emerging photographic artists through the assistance of FUA. Corridoio Fiorentino is to serve students, faculty and professional artists in the field of digital imaging by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible scholarly standards.

Get Involved in Experiential Learning!

Anyone who seeks a professionalizing experience can get involved as well. Through enrollment in Learn and Serve courses, team members may assist with the areas of operations and management. Learn and Serve is fully taught, supervised, and coordinated by instructors and offers the unique experience of professional integration and development for all individuals. Courses may be taken on a credit or non-credit basis.

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CORRIDOIO FIORENTINO

PALAZZO BOMBICCI PONTELLI GUICCIARDINI STROZZI

Corridoio Fiorentino
Corso Tintori 21
Firenze Italia 50122

tel +390552469016 / fax +390552478068

info@fua.it

What is Corridoio Fiorentino?

Corridoio Fiorentino is the photographic gallery located at the DIVA/IDEAS campus that features the works of external photographers, designers, as well as DIVA/IDEAS students and faculty. Corridoio Fiorentino is the photographic gallery located at the DIVA/IDEAS campus that features the works of external photographers, designers, as well as DIVA/IDEAS students and faculty. Corridoio Fiorentino is a mirror through which Florentine artists, students, and faculty reflect their perception of the visual and digital arts and share it with the city of Florence.

Student Academic Involvement

Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Corridoio Fiorentino provides a physical venue and online presence for current and past exhibits created by established and emerging photographic artists through the assistance of FUA. Corridoio Fiorentino is to serve students, faculty and professional artists in the field of digital imaging by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible scholarly standards.

Get Involved in Experiential Learning!

Anyone who seeks a professionalizing experience can get involved as well. Through enrollment in Learn and Serve courses, team members may assist with the areas of operations and management. Learn and Serve is fully taught, supervised, and coordinated by instructors and offers the unique experience of professional integration and development for all individuals. Courses may be taken on a credit or non-credit basis.

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FUA PER LA COMUNITA’ LOCALE

Integrazione per FUA significa scambio reciproco tra studenti e comunità locale. Grazie ai progetti che coinvolgono realtà esterne all’ambiente universitario di Fua, gli studenti si avvicinano alla cultura italiana e fiorentina attraverso l’apprendimento esperenziale, il contatto diretto con la comunità, con le aziende, con le associazioni, le scuole senza sottovalutare l’importanza di una integrazione anche attraverso la vita sociale mentre le realtà locali beneficiano del contributo dei nostri studenti nonché di prospettive internazionali.

Le seguenti opportunità sono aperte a italiani, stranieri residenti in Italia e aziende:

Famiglie e amanti delle lingue

Per chi fosse interessato ad avvicinarsi alle culture internazionali si offrono le seguenti attività:

  • Le persone interessate allo scambio linguistico possono partecipare a ChatPal. I partecipanti avranno la possibilità di incontrare un partner straniero una volta alla settimana.
  • Le famiglie possono iscriversi all’Italian Family Club. Con questo programma si “adotta” uno studente per un semestre e una volta alla settimana si stabiliscono contatti reciproci al fine di fare un proficuo scambio culturale e passare del tempo insieme.

Contatto: sld-studentservices@fua.it

Artisti

La galleria di Ganzo in via de’Macci 85r propone un ricco calendario di mostre di artisti locali e internazionali. Le mostre sono promosse dall’Ufficio Stampa di FUA e vengono organizzate con l’assistenza del Dipartimento di Fine Arts. Ogni mostra prevede un evento “AperiArt” di inaugurazione, aperto al pubblico.

Contatto: manager@ganzoflorence.it

Aziende

Le aziende e le organizzazioni professionali possono collaborare con i corsi di FUA per elaborare progetti e idee. Le nostre classi producono regolarmente loghi, libri, etichette e progetti digitali in collaborazione con grandi aziende. L’Ufficio Accademico sviluppa le proposte per le quali gli studenti potranno imparare in maniera esperienziale e i committenti potranno trovare spunti nuovi e interessanti. Le collaborazioni si svolgono nel corso di una sessione accademica e permettono alle classi e ai committenti di comunicare da vicino. I progressi vengono monitorati passo per passo dal coordinamento accademico di FUA. La scuola collabora con le aziende anche per il collocamento di stage e tirocinio.

 

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PAST SHOWS

PAST SHOWS

FUA-AUF GALLERY

Learning Lab

Fall 2020 Final Student Exhibit.

Mind Garden: Sustainability & Enviroment

PRIVACY POLICY

DISCLOSURE FOR SITE VISITORS

In implementation of the EU Regulation 2016/679

DATA CONTROLLER

FUA – FLORENCE UNIVERSITY OF THE ARTS – S.r.l.
Registered Headquarters in via Alfonso Lamarmora n. 39, Firenze
Administrative/Operative Headquarters: Palazzo Bombicci Guicciardini Strozzi, Corso Tintori 19-21, FIRENZE
p. IVA 05475460480 n. REA n. FI-549656

PARTICIPATORY FOUNDATION
PALAZZI FLORENCE ASSOCIATION FOR INTERNATIONAL EDUCATION
Registered Headquarters Via Ricasoli, 26, 50100 Firenze,
Administrative/Operative Headquarters Villa Brilli Peri, Via Guelfa 85-114-116 / FIRENZE
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CONTACT INFORMATION:

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  • the right to data portability, e.g. the right to receive, in a structured, commonly used and automatically readable format, personal data concerning him/her provided to a data controller, that the User can transmit to another data controller, without any impediments from the original data controller to whom they have provided the data, in the cases provided for by law (Art. 20 of the GDPR);
  • the right to object in whole or in part to the processing of personal data in the cases provided for by law (Article 21 of the GDPR for processing carried out for the public interest and legitimate interest of the owner, profiling and direct marketing and art 22 of the GDPR for automated decision-making processes);
  • the right to lodge a complaint with a supervisory authority (Privacy Guarantor);
    The rights can be exercised with a request to the Data Controller, identified as the Director of the Registrar’s Office, sending an electronic mail to the address privacy@fua.it.

 

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Upon arriving at our site, as a citizen of the EU and related affected countries under GDPR regulation, you will be presented with an option to accept or decline cookies. When declining cookies, please note that Session Cookies may be provided regardless and are allowed per Recital 30 of the GDPR. However, by declining the cookie consent, your website browsing experience may be diminished (certain content not showing, especially those from third parties) or completely impossible, as in the case of sites where membership is possible.

At any time, you can click on the Cookie Policy button at the bottom of the page to remove your previously granted consent to use cookies, or to give consent. Should you choose to revoke consent, your browsing experience will be the same as that when declining the ability for the site to set cookies.

 

Last updated: 6 May, 2018

TEJAS BALAPALLI

Tejas Balapalli

A NEW CHAPTER

FUA-AUF Career Photography Student

The Coronavirus outbreak in the north of Italy started to panic all across the country. I found myself in a situation where my friends were all returning home, on by one, day by day. I decided to remain so I spent days saying goodbyes to all those people who never intended to leave.  I honestly did not know how to cope with the situation. At the time I didn’t understand why everyone had to be so overdramatic about things that did not affect them or maybe I did and I just didn’t want them to leave. This news created panic across the city and the evergreen streets of Florence suddenly turned into a graveyard. I barely recognized the streets anymore.  People are coming out only in the morning to shop at the supermarkets waiting in the line for hours. I would think how could they wait so patiently?  Were they not scared of tomorrow?  What about the mental stress due to all the distress? Can we manage to be by ourselves? What about not being able to have human contact and for how long?   While these questions stayed on the back of my head I came to accept that I have to live with it anyhow. I can regret and cry about it or make peace with it. I chose peace and that didn’t come so easily, I had to go through a cycle of repetitions where the previous day wasn’t much different from the present day. I had to rethink everything again and again, but when I did, when I came to understand that the things I am trying to control are forces beyond my capability, I began to accept it. There was a moment of peace within, A sense of clarity where I saw things for as they are separated from the thoughts that held me back. As though I distanced myself from my bubble. When I did so I was faced with a new challenge of asking myself the question once again, 

“ Who am I? ”

I began to build myself together from the basic, trying to build a whole. This chapter of my life majorly influenced by the  pandemic might have been hectic to a lot of people in a lot of ways but it helped to destroy who I was to rebuild myself a new me.

Tejas Balapalli | FUA-AUF Career Photography Student

BACK TO WALL

Rubén Pagán-Ramos

Throughout a Day

Rubén Pagán-Ramos

FUA-AUF Photography Student

My series, “Throughout a Day” explores the world that we live in through the lens ofphotography and art across the span of a fictitious day, from an early sunny day, to an eerie streetat night. The environments are as alive as the people that are pictured in two of the images. Thetechniques explored are combinations of documentary and long exposure photography. Thiscombination allows for the story of a day to be formed, especially with the long exposures.The work I created spans over an evolution from early exploration of long exposurephotography which tended to always be at night, to more recently developing into day timeimagery as well. Some of my early night work is shown in the preceding image edits with moreimages. My night photography really began in high school when I used a lot of artificial lights toset my scenes, often using bright colors to create something more ethereal. They have taken theroute towards becoming more realistic, documentary images as they are now, rather than forgingsomething more fictitious as I used to. I became more recently inspired to switch and capture theworld through the lens of daytime because it really differs from night in terms of mood, eventsand people depicted. Daytime images required me to let go of some control that I always seem towant to hold on to through the precise process of long exposure, night photography. I washesitant to relinquish this control at first until I actually let go and did it, and I turned out creatingsome of my favorite images to date. This project serves to combine these two modes of imageryand have them compliment each other in a cohesive way, hence the documentary-like coveragefrom day to night.My work fits into an exhibition, purely as documentary landscape images as previouslymentioned. I picture the images being printed large, at least 16×20, to emphasize their beauty andto act as windows that viewers can peer out of towards this formulated, 24 hour range. The firstimage displayed closest to the entrance of the gallery would be the “Serene Hill” which depictswhat is said in the daytime and the last of the 10 images would be “No Longer With Us”,displaying an eerie night scene on a lone street. This way, when the viewers are exiting thegallery, they will pass by the images again in reverse order and glance at them again from adifferent perspective, as if it were nighttime becoming the next early morning and they wouldsubconsciously have in their mind that they’re entering their reality again from a freshperspective after viewing several series of artwork.My inspirations for the images come from my own process of creating this work overtime and how I shifted from one mood to the other solely through the process of subconsciouslycreating this, which in hindsight is the reason for it being what it is now. Before I even picked upa camera, I was the type of kid that would participate in most of his mischievous activities atnight with friends; I was always very comfortable in this setting and it kickstarted my work inthat environment in which I always found myself in. The work I created spans over an evolutionfrom early exploration of long exposure photography which tended to always be at night, to morerecently developing into day time imagery as well.

Rubén Pagán-Ramos| FUA-AUF Photography Student

BACK TO WALL

1. New Home

FUA AUF Gallery
Learning Lab

Corridoio Fiorentino is to serve students, faculty and professional artists by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible scholarly standards.

OPENING APERITIVO: 18 Maggio ore 18:30
18 – 31 maggio 2022 

Mitad ceniza Mitad latido

UN DIALOGO PLASTICO ATTORNO ALLA POETICA DI JORGE EIELSON

Corridoio Fiorentino 18 – 31 maggio 2022 Ingresso gratuito tutti i giorni dalle 8:30 alle 21:30 Via Ricasoli 21, Firenze

spring 2022

Final Students Exhibit

FUA -AUF è orgogliosa di presentare una mostra con i lavori dei corsi del semestre primaverile 2022. La mostra ospiterà le opere create dai corsi di arte, ceramica, fotografia e video making durante il semestre.

OPENING APERITIVO: 28 April 2021 – 18

SOLO EXHIBITAND PUBLICATION OF SOLO WORK

Exhibits FUA-AUF Career Photography Students

This series of solo exhibitions is the unbiased result of different and creative minds focusing on critical contemporary themes. Like alchemists, these young photographers take the heavy lead of everyday life and turn it into gold. (…) The artists displaying their projects today allow us to enter four realms of philosophic and social relevance, which touch on dissociation, emotional abuse, personal enlightenment, and the value of uniqueness. (…)

Opening Thursday March 24, 6pm 

distinct Reality

Sergio Falco e Maurizio Villani

 

Florence University of the Arts – The American University of Florence will host an external artist exhibition featuring art by Maurizio Villani and Sergio Falco on March 24, 2022 at 6:00 p.m. The exhibit will be held in one of FUA-AUF’s main campus buildings: Via Ricasoli 21.

GIANNI MANNOCCI E CATERINA PERRONE

Arte Diffusa

On February 10, Florence University of the Arts – The American Univesity of Florence hosted Gianni Mannocci and Caterina Perrone’s exhibition. The title of the collection, Arte Diffusa, symbolizes the diffusion of the artists’ emotions into their mixed media artworks consisting of sculptures, paintings and other mediums. 

Fall 2021 

BEHOLD

FUA-AUF Final Student Exhibit

Student Academic Involvment

Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Group and solo exhibits are meant to communicate a contemporary vision of digital arts and involve the community with the DIVA/IDEAS mission of interpreting and teaching arts through interactive digital media. Corridoio Fiorentino provides a physical venue and online presence for current and past exhibits created by established and emerging photographic artists through the assistance of FUA. Corridoio Fiorentino is to serve students, faculty and professional artists in the field of digital imaging by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible scholarly standards.

BEHOLD: Beauty Through the Eyes of Many

BEHOLD

Beauty Through the Eyes of Many

FUA-AUF Final Student Exhibit

Advanced Painting

Lily Leaphart
University of South Carolina 
Studio Art/ Art History Double Major 

After the Storm
Oil on canvas
180cm x 200cm

Julia Pennanen
Saint Joseph’s University
Psychology Major, Art Minor

Rebirth from Ashes
Oil on canvas
45 cm x 60 cm

Kristen Chou
Williams College Psychology and Studio Art

Hell, Purgatory, and Eden on Earth
Oil on Canvas
3 pieces, 20cmx29cm

Kristen Chou
Williams College Psychology and Studio Art

Hell, Purgatory, and Eden on Earth
Oil on Canvas
3 pieces, 20cmx29cm 

Kristen Chou
Williams College Psychology and Studio Art

Hell, Purgatory, and Eden on Earth
Oil on Canvas
3 pieces, 20cmx29cm 

Charlotte Fritze Mayer
Gap Year Student
Intended Global Health major and Studio Art minor


Phenomenology of Emotions
Oil paint on grain canvas
Three 30×40 cm

Caleb England
FUA-AUF
Bachelor of Arts in Cultural Studies
(Fine Art)

Nearly Finished
Oil on wood panel
50 cm x 40 cm

Julia Pennanen
Saint Joseph’s University
Psychology Major, Art Minor

This Storm Will Pass
Oil on Canvas
51 cm x 37 cm

Intermediate Photography

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled – Long Term Project
Digital Inkjet Print Canson Satin 270 A3

Advanced Photography

Taylor Samuels
4th Year Student FUA-AUF
Visual Communications

Untiled – Long Term Project
A3 Digital Inkjet Print Canson Satin 

Advanced Photography

Troy Joiner
4th Year Student FUA-AUF
Major Photography 

Untiled – Long Term Project
A3 Digital Inkjet Print Canson Satin 

Advanced Photography

Robert Thompson
Johnson & Wales University
Major Photography

Untiled – Long Term Project
A3 Digital Inkjet Print Canson Satin 

Advanced Film Photography

Robert Thompson
Johnson & Wales University
Major Photography

Untiled 
Photography 11X 14
Silver Halide Print

Photography 8X10 
Cyanotype Print

Street Photography

Cardillo Rachel
Endicott College
Photography

Untiled
Digital Inkjet Print Canson Satin A4

Digman Samantha
St.Norbert College
Graphic Design

Untitled
Digital Inkjet Print on Canson Satin / A4

Elwes Cyprian
University of Alabama
Public Relations

Untitled
Digital Inkjet Print on Canson Satin / A4

Victor Goedhuis
FUA-AUF
Photography

Untiled
Digital Inkjet Print Canson Satin A4

Digman Samantha
St.Norbert College
Graphic Design

Untitled
Digital Inkjet Print on Canson Satin / A4

Heather Oxsen
Endicott College
Graphic Design

Untitled
Digital Inkjet Print on Canson Satin / A4

Julia Pennanen
Saint Joseph University
Psychology

Untitled
Digital Inkjet Print on Canson Satin / A4

Sophia Casiero
Fairfield University
Marketing

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Ryan Atkins
Endicott College
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Gianna Dias
Washington State University
Biology

Untitled
Digital Inkjet Print on Canson Satin / A4

Intermediate
Digital Photography

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled
Digital Inkjet Print Canson Satin A3

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled
Digital Inkjet Print Canson Satin A3

Carly Frommer 
2nd Year Student FUA-AUF
Visual Communications

Untiled
Digital Inkjet Print Canson Satin A3

Leaphart Autumn
University of South Carolina
Studio Art

Untiled
Digital Inkjet Print Canson Satin A4

Maeve Mugglebee
FUA-AUF 
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Maeve Mugglebee
FUA-AUF 
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Maeve Mugglebee
FUA-AUF 
Photography

Untitled
Digital Inkjet Print on Canson Satin / A4

Leaphart Autumn
University of South Carolina
Studio Art

Untiled
Digital Inkjet Print Canson Satin A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Smith Shyler
Muhlenberg College
Media & Communication

Untitled
Digital Inkjet Print on Canson Satin / A4

Diluted by Lindsey Curabba

Diluted

by Lindsey Curabba

FUA-AUF Photography Student

Since 25 January 2022, I have been on 10 mg of Lexapro, an antidepressant medication used to treat my general anxiety disorder. As a result, most of my anxiety has resolved and is no longer manifested in ways that disrupt my everyday life. However, it has come with other changes in my brain chemistry that make it difficult to decide if they are worth taking. In order to make a decision like that, I would have to assess what is most important to me. Through this project, I hope to make that more clear for myself as well as other people going through a similar experience.

Diluted explores the version of myself that I have became, somewhat less of the person I was before. It dives into three main aspects of my life where I have felt the most dissociated: sex, relationships/friendships, and my own body and consciousness.

Dissociation and indifference toward the people and experiences in my life has been the most noticeable result of the medication, even more so than the lack of anxiety. It has began to affect the people in my life and be prominent to others apart from myself. I have also dissociated from sex in a more emotional sense as well as my body and consciousness. With relationships, I am lucky enough to be open with the people I am closest to. This allows them to try and understand the way I have been acting. This helps to alleviate some of the guilt I have been experiencing. The two aspects that only involve myself are far more difficult because it is something I have to face alone, which has been isolating.

These emotions have been the foundation on which Diluted has emerged. My own performative act of having to convince myself that I can still have fun and enjoy living, feel something, mirrors the need to use performance as an instrument to achieve authentic emotion.

 

Bio: Lindsey Curabba (2000)  is a multimedia artist specializing in photography and design based in New Jersey. She works with both mediums, sometimes blending the two and other times keeping them separate. In her recent artwork, she uses film photography so as to tell a story and a process in and of itself. Recurring themes include; identity, sexuality, and her own feminine and queer experience. Her art aims at creating a safe environment for open and honest conversations. She hopes to make relatable work and create shared experiences with her and her viewers.

[:en]Solo Exhibit and Publication of Solo Work [:it]Solo Exhibit and Publication of Solo Work Spring 22[:]

SOLO EXHIBIT

and Publication of Solo Work 

 FUA-AUF Career Photography Students

This series of solo exhibitions is the unbiased result of different and creative minds focusing on critical contemporary themes. Like alchemists, these young photographers take the heavy lead of everyday life and turn it into gold. Through their transformative gaze, photography becomes a sharp, gilded blade able to cut into the very fabric of reality and reveal the tender, raw marrow of contemporary self-expression. The final product leads the viewer to be confronted with a myriad of diverse bodies and sensitivities inhabiting the world and raising questions on how reconciliation with the self and with others can be reached. The investigation of the subject matters occurs by means of a variety of conceptual and technical forms, yet the leitmotiv tying such artworks resides in the realization that photography has the capacity to shed light over the balances and imbalances of human connection and connectedness. Through this medium, conjugated in a plethora of approaches, life can be assessed, showcased, and ultimately confronted. The artists displaying their projects today allow us to enter four realms of philosophic and social relevance, which touch on dissociation, emotional abuse, personal enlightenment, and the value of uniqueness. Carly Frommer explores the detrimental consequences of toxic love and its aftermath; Lindsey Curabba delves deeper into the effects of her own mental health on sex, relationships, and bodily consciousness; RT looks at the territory of Hare Krishna devotees and their quest for happiness; Taylor Samuels examines the impacts of personal character on the success of a small business. By coaxing their subjects into the confines of the frame, their work conveys a new narrative – whether it’s organized religion, a love story gone wrong, living in the throes of drug-induced numbness or even entering the neon-lit sanctuary of a hairdresser, the stories exhibited within the spaces of the Florence University of The Arts show a desire to go deeper, to overthrow stigma, to parcellize trauma, and celebrate the banal. 

Michelle Davis and Sofia Galli

Diluted by Lindsey Curabba

Growing Animosity by Carly Frommer

Daniela by Taylor Samuels

Siamo Felici by RT

Growing Animosity By Carly Frommer

Growing Animosity

by Carly Frommer

FUA-AUF Photography Student

Growing Animosity is a series of photographs that narrates a story of a doomed relationship, consumed by emotional abuse. Rather than creating a film, a cinematic experience is achieved by means of photography. The body of work features a four-stages series of images portraying a relationship’s journey. The first phase represents the honeymoon period, where all is well amongst the happy couple. The second and third phase show the downfall of the relationship, while the fourth and final phase deals with the end of the relationship and the woman left alone. This idea stems from the realization that a toxic understanding of love can be harmful.

The woman is shown being treated poorly alongside an abusive male, and then emphasis is placed on the detrimental effects the emotional abuse created on her mental health during daily life cycles. A digital camera set to a high ISO is used in order to create a grain effect, giving the story a vintage effect. The consistent use of warm tones also contributes to the vintage and retro

Bio: Carly Frommer (2002) is a New York City and Florence based visual artist. Her artwork conveys a narrative portrayed through composition. Using a digital camera and a classic processing technique, Frommer creates vintage and retro style photographs in a storyboard format. Common themes in her work include relationships, sexuality, and femininity, often bringing attention to somber, uncomfortable, and sensitive topics. Currently, she is obtaining a BA in Digital Media and Visual Communications with a focus on Photography at the Florence University of the Arts – The American University in Florence.

Daniela by Taylor Samuels

Daniela

by Taylor Samuels

FUA-AUF Photography Student

On a walk through Florence during fall of 2021, I stumbled across Daniela’s salon. I found it to be quite cute and instantly recognized just how she incorporated her own identity into her small business through its style and her relationship with her clients. I began to spend time with her and her clients, shooting photos of what I experienced with them. Her openness and warmheartedness allows her long-term clients to feel comfortable and confident in getting their hair done while also having a genuine personal experience with a friend. This body of work explores the power of one’s identity and the impact that their relationship with clients has on their business, and in turn what effect that has on their career overall.
These photos were shot naturally, because not only was I there capturing these moments, but I was very much a part of the moments. I had the pleasure of getting to know Daniela and meeting a handful of her close-knit clients as well. I could see the connection she had with everyone, and how she made me feel just as welcomed to be there, too.
The series includes a combination of portraits, candid photos, and setting imagery to show sincere moments between everyone in the salon, while also getting a feel for the familiar environment around them. With Daniela as the main subject, the viewer can tell by her expressions and poses just how warm and welcoming she is. One of my main influences for this body of work was the role that my own hairdresser played throughout my life. Since he is also my mother’s hairdresser, I have gone to him since a young age and he has watched me grow up in a way that not many people have. The bond you can have with people you connect during this intimate practice is surely unique and the comfort they give you is what makes it such a nice experience. The photo that represents this feeling the most is oDaniela’s client, B rigetta, looking at her lovingly. This image really shows just how special this role is, and how Daniela plays an important role in her life through this relationship that is more than just business .
Throughout the series of photos, it can be seen that powerful small business owners can achieve not only success within their business, but fulfillment from their career when being themselves, valuing the relationships they have, and making their clientele feel highly cared for.

Artist Bio: Born in Massachusetts in 1998, Taylor Samuels is a photographer shooting mostly digital fashion and documentary-style bodies of work. She is now graduating with a BA in Digital Media from Florence University of the Arts. Her art explores themes such as identity, genuinity, and personal style. She strives to capture fashion-esque outlooks of individuals through a documentary approach. The artist’s series “Daniela”, following a local Florentine hair stylist, will be exhibited at the Ganzo School Restaurant throughout May, 2022.

Siamo Felici by RT

Siamo Felici

by RT

FUA-AUF Photography Student

The idea at the base of Siamo Felici is to document the Hare Krishna based in Tuscany. The project stemmed from my deep interests in organizations known as “cults”. My dad would tell me some ludicrous stories involving the Hare Krishna and their off-putting behavioral traits. Hearing about an organization where Americans act Hindu showed me a side of vulnerability in the human mind I myself wasn’t aware of. In the 1960s, many Westerners were self-proclaiming as enlightened beings using Vedic titles such as Yogi or Swami (spiritual / religious leaders). These ‘enlightened beings’ would seek vulnerable groups to convert into followers of their belief system, ultimately capitalizing off predominantly Hindu beliefs and the malleability of people’s perceptions. Hare Krishna is one organization that was founded this way and has many international followers to this day.

While studying in Florence I ran into a group of people garbed in Indian apparel attempting to proselytize the locals on a Saturday night with little chants and a basket of coconut cookies. As I was taking photos, one of the clean shaved men invited me to their villa for a Sunday feast. Having a journalistic style these recent months, I decided to create a body of work focusing on the Hare Krishna devotees in Tuscany and how similar they are to the scandalous perceptions in the United States. 

They gave me a tour of their many shrines to Krishna as well as their non-profit museum, filled with paintings depicting the history of Krishna and portraits of the religious founder, Prabhupada. While historical evidence had been lacking, it was a privilege to gaze upon the artistic devotion and creative energy these people offer to Krishna. It was most astonishing sitting in a 3 hour ceremony of 28 followers ceaselessly chanting “Hare Krishna”. They say speaking Krishna’s name brings them happiness and will hopefully allow them to experience enlightenment. Ironically enough, I think they are already enlightened in their own unique way considering how much hate speech that is shouted at them and the only response they have is “Hare Krishna” followed by an unbreakable smile on their face. 

Biography: RT (born Robert Thompson) is a 2001 visual artist and photographer based in New York. He is currently obtaining a BA in Photography at the Florence University of the Arts. His artwork mainly focuses on the exploration of the beliefs and philosophies at the basis of the lives of non-conforming social groups, namely Hare Krishna, LGBTQ+, Communists, and Punk Youth. The aim of his work is to demonstrate the uniquely similar qualities shared between humans, despite the infinite differences we all possess.

Final Student Exhibit Spring 2022

Final Student Exhibit

Spring 2022

Ceramic

Bechtel Madison, Whitney Anna, Walsh Rebecca, Sands Hallie, Rossini Sienna, Marrocco Savannah, Bracken Hannah, Intrieri Allison , Finnegan Kelsey, Delapenha Jamie, Bruder Caroline, Colecchi Talia, Buckley Emily, Abernathy David, Bleyer Annamaria, Bodemer Jillian, Borgen Breanna, Citro Sophie, Holt Justine, Infante Erin, McCray Emma, Pasternak Tillie, Potts Monica, Roach Mackenzie, Saccoach Riley, Smith-Granger Chanel

Variation on the theme Group of objects

The work stems from the elaboration of “Bacterio”, the famous decorative pattern created by Ettore Sotsass, an Italian architect and designer famous for his long collaboration in the Olivetti company. The goal was to create a group of vessels that could be observed as a whole. To achieve this, the process is divided into two distinct moments. First the formal search for the vase itself, homogeneous in research and technical execution. Then the decorative phase in which each student has elaborated a different pattern in black and white associated with a uniform color. the element of variety is the one that suggests a rhythmic reading to the group of objects and that defines them as a whole.

photography

Claire Ryan
Intro to Digital Photography – University of Alabama, AL – A4

Inkjet Print

Emma Fender
Street Photography
University of Georgia, GA – A4 Inkjet Print

Emma Fender
Street Photography
University of Georgia, GA – A4 Inkjet Print

Ellie Lindsey
iPhoneography

 

Isabella Ferretti

Lilian Shevlin
iPhoneography

Danielle Hardy
iPhoneography

Logan Connealy
iPhoneography

Isabella Parente
Street Photography – New School, NY – A4 Inkjet Print

Isabella Parente
Street Photography – New School, NY – A4 Inkjet Print

Emma Fender
Street Photography
University of Georgia, GA – A4 Inkjet Print

Charvi Shah
iPhoneography.

Devon Dooley
iPhoneography

Leah Van Note

Logan Connealy
iPhoneography

Lorelei Douds
iPhoneography

Painting

Cecilia LeBlanc
Looking Within
oil on canvas
Eastern University

When creating art I find that I struggle to connect myself into my own work. I get so caught up in trying to copy famous artists that I never truly find my own style or ideas. When reading about Andriano Olivetti and how he integrated creativity into his company and allowed artists to incorporate their own ideas into the typewriting business it inspired me to literally place myself into my own work. While giving a contribution to Olivetti’s incredible accomplishments of not only his typewriters but also for changing the idea of the workplace, I include in my paintings my own uniqueness and individuality. My love for the human figure and portraiture is shown through my work as I strongly believe that your work should be something you love and are interested in.

Natasha Marie Kam
Outside the Kitchen Window
20 by 27 inches; watercolor
Middle Tennessee State University

This abstract watercolor is inspired by Emma Larsson. I wanted to take apart, then combine, elements Larsson uses and add my own twist to it. Using free-flowing and impromptu technique to create a series. Also working by my kitchen window, and took influence from objects and designs I saw outside.

Estelle Sweeney
“Wrestle with an angel”
24in by 20 in
University of Colorado boulder

The wrestle humanity has with destruction and beauty is shown within the devil’s outreached positioning grabbing onto the angel. Transitioning from industrialization and capitalism to a utopian society is shown as a struggle through this painting. The angel is supposed to represent humanity moving on from destroying our world and morphing into the next era of clean energy and existing with nature even within our cities, the devil is the other side of humanity holding onto riches and rags, scared to move into the next phase of reality. 

Charlotte Holder
Normal Bodies Oil Painting,
20×25, 20×25, 30x40cm
Santa Clara University


In an effort to heal the trauma that lives in my own body which therefore deems it imperfect, I decided to create a series of paintings that establishes a space for misrepresented and undervalued bodies that previously were stripped of a space such as this. In this series, I employed the use of oil paints and handwritten poetry to create unique abstraction. I used a limited color palette, and I gathered inspiration from 1960s Italian artists like Mario Schifano and his use of geometric lines/shapes and figure illustration.

Anne Sipos
Philippians 1:9-11
3 20x30cm pieces as a series, mixed media on canvas
Arizona State University

“Philippians 1:9-11” reflects on Paul’s words to the Philippian church in the Bible, and it is what is quoted in this series of work. Underlying this verse is a process. A process that starts in the heart, infiltrates the mind, and leads to the becoming of everything that one breathes from their lungs. In this case this process is in the context of someone coming to a belief in Jesus Christ and it becoming all of who they are. 

As I was creating the “Philippians 1:9-11” piece, I had the concept in mind. It was something that I could meditate on and let permeate my thoughts, as well as dive deeper to try to depict something so complex simply and visually. It helped me contemplate and process this section of Scripture in hopes that viewers will be able to do the same and make it applicable to their own lives.

McKenna Lush
Lemon Tree
20 inches x 27.5 inches, oil paint
University of Kentucky

Adrienne Albro-Fisher
Colors in the Italian Landscape
Oil paint on canvas. Both works: 3’9” x 2’9”

University of Massachusetts Amherst

I am interested in color and texture when I am creating art. I often enjoy natural palettes with hints of brighter colors. Colors are one way I can bring emotion and mood into my pieces. I also enjoy exploration in texture by building up a canvas with paint. I try experimenting with different tools to create different textures. In this series, I will explore the colors and textures found in the landscape of the Italian 60s. I am interested in depicting the landscape and expressing the relationship between nature and people during this time. As I observe Florence I see places where nature creeps into the city, along the Arno, and through plants and gardens. I also see where the architecture has become part of the landscape as you view the mountains off in the distance or look out at Piazzale Michelangelo to see the red roofs stretching all over. I will pull color and texture from the stone architecture, soft forms of nature, and the daily lives of Italian people during the 60s. In doing this I will develop abstract oil paintings that express the relationship between these ideas. My hope is to represent the visual identity of the 1960s in Italy through abstraction to transport the viewer back to this time. 

Mitad ceniza Mitad latido

Mitad ceniza Mitad latido

Mitad ceniza Mitad latido è un progetto artistico di Nani Cárdenas ed Elisenda Estrems, realizzato a partire dalla poetica di Jorge Eielson, esposto sinora a San Francisco, Lima e Arequipa, che nel 2022 sarà visibile anche al pubblico italiano a Milano, Firenze e Roma.

Il progetto nasce dall’amore delle due artiste per il maestro peruviano, in particolar modo per la poesia di cui era fatta ogni sua opera e dalla necessità di dare forma a questo amore per generare un dialogo artistico con lo stesso Eielson.

L’esposizione – realizzata con sculture, installazioni, disegni, tessuti e molto altro – è anche fatta da luci e ombre, codici e silenzi, spazi e vuoti, che la rendono un universo di emozioni.

Le due artiste, pur partendo da uno stesso bisogno di dialogare con la poetica di Eielson, intraprendono da subito due strade diverse: le opere di Nani Cárdenas, che sembrano incentrate sulla presenza e assenza delle forme, germogliano prevalentemente dalla raccolta poetica Noche oscura del cuerpo scritta nel 1955, mentre quelle di Elisenda Estrems, basate su codici e frammentazioni, da Temas y variaciones (1950).

Mitad ceniza / Mitad latido ci regala uno sguardo nuovo sull’universo eielsoniano, una porta celata che si apre, un’idea inedita che ci aiuta a comprendere un altro tassello della vita e dell’opera del Maestro, grazie a tanta bellezza e tanto amore, tanta arte e tanta ispirazione, tanto Eielson e tanto Jorge.

Per il valore artistico del progetto Mitad ceniza Mitad latido ha vinto il prestigioso «Premio Luces» quale Miglior Esposizione del 2020, un riconoscimento conferito dal quotidiano peruviano “El Comercio” di Lima.

BIO: NANI CÁRDENAS (Lima, 1969)Ha studiato disegno e scultura con Cristina Gálvez e si è laureata presso la Facultad de Arte de la Pontificia Universidad Católica del Perú nel 1993, con il premio per la migliore opera scultorea. Tra le sue ultime esposizioni individuali figurano: Jardín Nocturno nel CEDE (Lima, 2017), Cartografías del Naufragio nella Sala Luis Miró Quesada Garland (Lima, 2015), Picnic nella Galería Yvonne Sanguinetti (Lima, 2011), Cuaderno de Dibujo nella Galería Enlace (Lima, 2009), Cromoterapia nel Memorial de América Latina (San Paolo, 2010) ed En tránsito nella Galería Beaskoa (Barcellona, 2006). Recentemente ha partecipato a diverse mostre collettive a Lima, Londra, Santiago del Cile, Bogotá, La Paz, New York, Washington e Roma. È membro del Colectivo Andamio. Pubblicazioni: Cromoterapia (2008), Cuaderno de dibujo (2009), Picnic (2010), Nubes (2011). nanicardenas.com

ELISENDA ESTREMS (Lima, 1975) Artista visuale e coordinatrice di progetti artistici, si è laureata in Artes Visuales nella Escuela INBA La Esmeralda di Città del Messico nel 2001. Tra le sue ultime esposizioni individuali figurano: Lo vital y lo sagrado presentato nella COP21, Le 104 Cent-Quatre (Parigi) e Feria Estampa 2015, (Madrid), Porosidad y territorio nel Centro de la Imagen (Lima), Futuro Caliente / Escultura e intervención de arte colaborativo, nell’ambito della COP20; Diáspora y Retorno nella Galería Valenzuela Klenner (Bogotà), Dibujos de Héroes (Città del Messico), Ningún lugar mejor que éste, La Otra (Bogotà). www.elisendaestrems.com

 

nani Càrdenas

Elisenda Estrems

Oltre il Visibile

Oltre il Visibile

di Gryté Pintukaité

Mostra personale

Dipingi la tua vita…

Grytė Pintukaitė nasce a Kaunas, Lituania, il 16 febbraio del 1977. E’ pittrice ritrattista, membro dell’associazione artisti della Lituania e dell’associazione “La casa degli artisti” di Perugia.  Proveniente da una famiglia di artisti, la madre insegnante e poetessa ed il padre attore di teatro drammatico, sin dall’infanzia ha seguito la sua naturale inclinazione dedicandosi allo studio di varie forme d’arte, spaziando tra musica, teatro, danza e poesia, specializzandosi in particolare nelle belle arti nel corso dei suoi studi liceali. Tra il 1995 ed il 2001 ha studiato presso l’Accademia di Belle Arti di Vilnius, conseguendo la laurea e superando un master in pittura. Significativi sono stati, in questo periodo, i sei mesi di studio trascorsi in Finlandia. Negli anni si è dedicata ed ancora si dedica allo studio del “Belcanto”, dando ulteriore carattere alla propria figura artistica, dove note e colori si incontrano in una sintesi di reciproci intenti.
Sino ad ora Grytė ha organizzato trentanove mostre personali e partecipato a più di cento mostre collettive, tra cui la Biennale di Venezia nel 2011, la sesta Biennale internazionale d’arte di Pechino nel 2015, il Festival internazionale “The Third Silk Road” in Cina nel 2016 e, nel 2019, la Fiera dell’arte di Barcellona. Ha partecipato a diversi simposi internazionali ed en plein air, prendendo parte a mostre in Spagna, Italia, Finlandia, Danimarca, Bielorussia, Lettonia e Lituania. Ha inoltre organizzato diversi eventi di “artistic synthesis” (sincretismo artistico). Per quindici anni Grytė ha insegnato nozioni di belle arti e teatro. Ad oggi molte delle sue opere sono presenti nelle collezioni di musei in Cina, Lettonia e Lituania, oltre che in numerose collezioni private sparse per il mondo. Oggi Grytė vive e crea in Italia, abbracciata dalla natura della Toscana.

www.gryteinart.com

Paint and sing your life…

Gryte Pintukaite is a painter portraitist, the member of Lithuanian Artist’s Association. Now she lives and creates in Cortona, Italy.
She was born in Kaunas, Lithuania, in a family of artists: the mother was teacher and poet, the father – drama theater actor. After the studies in Art Gymnasium in Kaunas, Lithuania and in Kankaanpaa Art School in Finland, she studied painting in Vilnius Academy of Art (Lithuania) from 1995 to 2001. She also studied singing “Belcanto” wich gaves more colors and “sounds of feelings” to her painting.
Gryte organized 39 personal exhibitions.
She participated in abaut 100 group exhibitions, from which, the most important, was the Venice Biennale in Italy, the Beijing International Art Biennale, the Silk Road International Festival in China and the Art fair of 2019 in Barcelona. She participated also in many internationals Art Symposia and Plain Airs and took part in others exhibitions in Finland, Denmark, Belarus, Latvia and Lithuania. She also organized “artistic synthesis” events. For fifteen years Gryte taught knowledge of painting, drawing and teater.
Today, a lot of artworks of Gryte Pintukaite are in the collections of museums of China, Latvia, Lithuania, as well as in private collections in Florida, England, Italy, Germany, China, Finland, France, Iceland, Latvia, Russia and Lithuania.

www.gryteinart.com

Breakfast in the sky, 2018, oil on canvas, 80×60

Done, 2019, oil on canvas, 70×70

Flamenco dancer, 2017, oil, acrylic on canvas, 30×30

Hotness, 2018, oil on canvas, 60×60

Ladybug of God, 2022, acrylic oil on canvas, 60×60

Mimosa, 2019, oil on canvas,24×18

Portrait of painter Sigfrido Oliva, 2017, oil, acrylic on canvas, 60×50

Still life with mimosas, 2022, oil on canvas, 50×50

Sunflower, 2021, oil on canvas, 24×18

The beauty, 2022, acrylic oil on canvas, 60×70

The beginning, 2020, acrylic, oil on canvas, 90×100

The boy with parrot, 2016, oil on canvas, 40×40

The Gift, 2020, oil on canvas, 70×60

The lunch for two, 2018, oil on canvas, 100×100

The meating with Van Gogh. Portrait of actor Alessandro Preziosi, 2020, oil, acrylic on canvas,70×70

The poppies in sky, 2020, oil , acrylic on canvas, 50×70

The rose, 2018, oil on canvas, 24×18

Woman-Poppy, 2014, oil on canvas, 40×40

Interi: The Florence Flood Collection

THE FLORENCE FRAGMENT COLLECTION

INTERI

On November 4th, 1966, the city of Florence faced one of the worst floods recorded since the Renaissance. After days of severe and heavy rainfall, the Arno River flooded and submerged the Tuscan streets.

The river overflowed its banks and floodwaters swept through the streets and into thousands of shops, homes, churches, and museums. The river crested that day around noon. “There were about 225,000 gallons (852,000 liters) of water entering Florence every second with no place to go except into the city,” according to “Dark Water: Flood and Redemption in the City of Masterpieces” by Robert Clark. By that evening, the water levels had started to decrease; however, the devastation left behind was widespread. In addition to dozens of people losing their lives, a reported 20,000 people were left homeless and 10,000 cars were wrecked. Residents were without electricity, drinking water and phone service, and the streets were destroyed by the water and muck.

Il 4 novembre 1966, la città di Firenze fu colpita da una delle peggiori alluvioni mai registrate dal periodo del Rinascimento. Dopo giorni di forti e abbondanti piogge, il fiume Arno straripò e sommerse le strade toscane.

Le acque alluvionali oltrepassarono gli argini e travolsero le strade e con esse migliaia di negozi, case, chiese e musei. Quel giorno l’inondazione raggiunse il suo culmine verso mezzogiorno. “Ogni secondo entravano a Firenze circa 225.000 galloni (852.000 litri) d’acqua senza un altro posto in cui dirigersi se non in città”, scrive Robert Clark in “Dark Water: Flood and Redemption in the City of Masterpieces.” Verso sera il livello dell’acqua iniziò a scendere, ma la devastazione che l’alluvione lasciò dietro di sé fu molto estesa. Oltre alle decine di persone che persero la vita, si calcola che all’incirca 20.000 persone rimasero senza casa e 10.000 auto andarono distrutte. I cittadini rimasero senza elettricità, acqua potabile e telefono e le strade erano stravolte dall’acqua e dal fango.

This city, known for its unparalled art, history, and beauty, had been ravaged by the flood. Water and mud had poured into Florence’s museums and ancient churches, destroying irreplaceable paintings, sculptures, murals, manuscripts and other precious artifacts in the very places they were housed. The mixture of the flood waters and the ruptured heating tanks in buildings around the city caused the fuel oil to spew into the water, creating a thick muddy mess. More than 1 million volumes were waterlogged, as were numerous important records at the Biblioteca Nazionale, a public library founded in the 18th century and the state archives.

Floodwaters knocked off panels from the Florence Baptistery’s “Gates of Paradise,” – the 2,721 kilogram, 5-meter-tall gilt bronze doors designed by sculptor Lorenzo Ghiberti in the 15th century and considered a Renaissance masterpiece. At the Basilica di Santa Croce (a church and burial site of Michelangelo and Galileo, among others), a large wooden crucifix created in the 13th century by the master Italian artist Cimabue lost the majority of its original paint in the flood. Afterward, the ravaged artwork became a symbol of the toll the deluge took on Florence’s cultural heritage.

La città, famosa per la sua ineguagliabile arte, storia e bellezza, era stata devastata dall’alluvione. L’acqua e il fango si erano riversati nei musei e nelle chiese antiche di Firenze, distruggendo dipinti inimitabili, sculture, affreschi, manoscritti e altri preziosi manufatti proprio negli stessi luoghi in cui venivano custoditi. La miscela tra le acque alluvionali e il gasolio fuoriuscito a causa della rottura dei serbatoi di riscaldamento degli edifici della città creò una coltre di fango ancora più densa e distruttiva. Più di un milione di volumi vennero sommersi dall’acqua insieme a numerosi importanti documenti della Biblioteca Nazionale, istituzione pubblica che custodiva gli archivi di stato fondata nel XVIII secolo.

L’impatto dell’acqua arrivò addirittura a strappare via dal telaio sei dei dieci pannelli della “Porta del Paradiso” del Battistero di Firenze, la porta in bronzo dorato di 2.721 chilogrammi, alta 5 metri, progettata dallo scultore Lorenzo Ghiberti nel XV secolo e considerata un capolavoro del Rinascimento. Nella Basilica di Santa Croce (chiesa che ospita le spoglie di Michelangelo, Galileo e molte altre ilustri personalità), un grande crocifisso ligneo intagliato nel XIII secolo dal maestro italiano Cimabue perse la maggior parte della tinta originale a causa della catastrofe. Successivamente, tale opera d’arte devastata dal fango si è  convertita in un simbolo del tributo che l’alluvione ha imposto al patrimonio culturale di Firenze.

Upon learning about the flood, volunteers from across Italy and around the world arrived to help the city and rescue the rare books, artifacts, and art. The faithful group of volunteers we’re called “the Mud Angels.” These were young adults with no special training and were not organized, nor had they been recruited. They simply showed up. Young Europeans dropped what they were doing and boarded trains or drove south. Many had already been on the road, backpacking around Europe, and rearranged their plans to spend time to help in Tuscany. Study abroad students, specifically students from Florida State University, were a celebrated group of American volunteers who helped save many precious works of art and offered aid to the city.

Quando si diffuse la notizia della disastrosa alluvione, volontari da tutta Italia e da tutto il mondo arrivarono in soccorso della città per salvare libri rari, manufatti e opere d’arte. Questi zelanti volontari vennero ribattezzati gli “Angeli del fango”. Si trattava di giovani che, senza una particolare esperienza, poco organizzati e non previamente selezionati, si erano semplicemente messi a disposizione. I giovani europei lasciarono le proprie occupazioni, presero il primo treno e partirono verso Firenze. Molti di loro, che erano già stati, zaino in spalla, in giro per l’Europa, riorganizzarono i loro programmi per portare il proprio aiuto in Toscana. Gli studenti stranieri in Italia, in particolare quelli della Florida State University, vengono ancora ricordati come un celebre gruppo di volontari americani che contribuirono a salvare molte preziose opere d’arte e che offrirono il loro aiuto alla città.

The global efforts reached Hollywood as Franco Zeffirelli, the famous director and Florence native was working on a movie adaptation of “Taming of the Shrew” (starring Elizabeth Taylor and Richard Burton) in Rome at the time of the flood. He quickly returned to his hometown to make a documentary about the catastrophe. The film went on to reportedly earn $20 million in aid for the devastated city. Additionally, a group of American historians and other intellectuals started the Committee to Rescue Italian Art (CRIA) in order to raise funds to restore the damaged artwork and cultural artifacts.

The flood sparked significant change in the field of art preservation and helped developed new restoration techniques and standards in the years that followed. In the U.S., many national organizations subsequently were formed to help protect museums, historic sites, libraries and other cultural institutions in natural disasters and other emergencies.

Gli sforzi globali raggiunsero anche il mondo dello spettacolo: Franco Zeffirelli, il famoso regista originario di Firenze, mentre stava lavorando alla versione cinematografica della “Bisbetica domata” (con Elizabeth Taylor e Richard Burton) a Roma, al momento dell’alluvione, tornò subito nella sua città natale per girare un documentario sulla catastrofe. Si stima che il documentario abbia fruttato 20 milioni di dollari di aiuti a favore della città devastata. Inoltre, un gruppo di storici americani e di altri intellettuali ha dato vita al Committee to Rescue Italian Art (CRIA) (Comitato per il salvataggio dell’arte italiana) per raccogliere fondi per il restauro delle opere d’arte e degli artefatti culturali danneggiati. Jacqueline Kennedy fu presidentessa onoraria del gruppo, che faceva parte di un movimento di aiuto internazionale.

L’alluvione ha innescato un cambiamento significativo nel campo della conservazione dell’arte e ha contribuito a sviluppare nuove tecniche e standard di restauro negli anni successivi. Negli Stati Uniti sono nate molte organizzazioni statali per aiutare a proteggere musei, siti storici, biblioteche e altre istituzioni culturali in caso di disastri naturali e altre emergenze.

Years ago, Interi founder and creative director, Jean O’Reilly Barlow began to take interest and buy fragments found from the Florence flood out of her own fascination. She purchased them from a colleague who bought them from a wealthy Florentine man. At the time of the flood, he and his helpers took notice of the church artifacts floating through the streets and began to gather and collect as many gilded antiquities as they could. He had a place up the hill that they filled with all  of the fragments. This magazzino remained completely closed for about thirty years. About 15 years ago, they allowed only a few select antique dealers and restorers in. Within a matter of five or six years, this man’s collection had entirely depleted, and no one was able to purchase any more.

Alcuni anni fa, la fondatrice e creative director di Interi, Jean O’Reilly Barlow, ha iniziato a riporre il proprio interesse nei frammenti antichi ritrovati durante l’alluvione di Firenze riconoscendone il fascino storico-artistico. Li ha acquistati da un collega che li aveva a sua volta comprati da un ricco signore fiorentino che, all’epoca dell’alluvione, insieme ai suoi aiutanti aveva notato gli artefatti ecclesiastici che galleggiavano per le strade e aveva iniziato a raccogliere e collezionare tutti gli antichi frammenti dorati che poteva reperire. Riempì di reperti storici un’antica villa di sua proprietà sui colli fiorentini che rimase completamente chiusa al pubblico per circa trent’anni. Circa 15 anni fa, venne concesso l’ingresso solo a pochi antiquari e restauratori selezionati. Nel giro di cinque o sei anni, la collezione del ricco signore andò esaurendosi e nessuno fu più in grado di acquistare tali reperti.

After purchasing the pieces, Barlow had an idea to preserve and transform the artifacts into art. Once works of art that adorned churches throughout Florence, these fragments had been significantly distressed from the mud and water. There is still the original paint and silt left on the pieces to uphold the integrity, craftmanship, and history of sculptural fragments. The collection is proof that there is more beauty to uncover – bringing forth a new era and context of “modern mud angels.”

“Usually, a fragment has gone past restoration but, because of its age and intricate carvings, it is still a work of art. I became interested in the fragments when I saw more than the discarded artifact, but a piece that could be made beautiful again,” says Barlow.

Dopo aver acquistato i reperti, Barlow ebbe l’idea di conservarli e trasformarli in opere d’arte. Dopo aver adornato le    chiese fiorentine, i frammenti risultavano danneggiati dal fango e dall’acqua. La vernice originale e i sedimenti del fango ancora presenti su di essi testimoniano l’integrità, la maestria e la storia dei frammenti scultorei. La collezione è la prova che c’è ancora bellezza da scoprire, dando vita a una nuova epoca e a una nuova dimensione che potrebbe definirsi come quella degli “angeli del fango moderni.”

“In genere i frammenti che impiego sono stati scartati durante i restauri, tuttavia, la loro antichità e i loro complessi intagli   ne mantengono l’essenza dell’opera d’arte. Il mio interesse nei frammenti è nato quando ho iniziato a riconoscere in essi non più dei semplici reperti messi in disparte ma delle opere destinate a splendere nuovamente” racconta Jean Barlow.

Each piece has been reimagined with fossil agate coral, shells, calcite crystals, tourmaline, and other rare minerals from all around the world – creating a piece that looks as though it evolved together over time. Through contemporary interpretations and artistic methods, the fragments have been given new life, just like the other masterpieces saved from the flood.

“While many of our fragment artifacts are distressed due to age, these Florence fragments stand apart. They symbolize a history that has been carried through the streets of Italy, to the storehouse, then my studio, and now to the galleries and the modern home,” says Barlow. Each one has been recreated and reveals a new interpretation. What was submerged and stripped of its color and meaning still retains its history and beauty. What was weathered and worn is now reimagined and reborn. What was lost is now found.

Ogni frammento viene riconcepito e decorato con coralli fossili di agata, conchiglie, cristalli di calcite, tormalina e altri rari minerali provenienti da tutto il mondo, creando un capolavoro unico che sembra essersi evoluto insieme nel tempo. Grazie alle reinterpretazioni e alle tecniche artistiche contemporanee i frammenti hanno conosciuto una nuova vita proprio come gli altri capolavori portati in salvo dopo l’alluvione.

“Mentre molte delle nostre opere vengono realizzate con frammenti deteriorati a causa del tempo, i frammenti di Firenze sono diversi: la loro storia è passata per le strade inondate dal fango, per la villa del ricco signore, per il mio studio, per poi risplendere nuovamente nelle gallerie e nelle case moderne” spiega Jean Barlow. Ognuno di essi è stato ricreato e viene presentato con una nuova interpretazione. Dopo essere stato sommerso e spogliato dei propri colori e della propria essenza, riporta alla luce la propria storia e la propria bellezza. Dopo essere stato eroso e segnato dalla catastrofe viene riconcepito e riscoperto per una nuova rinascita.Ciò che era andato perduto, ora è stato ritrovato.