Since the 1960s, Marisa Merz has dedicated herself to the creation of drawings and paintings that represent female faces and physiognomies. His figures take shape from the intertwining of arabesque lines or from the accumulation of small fragments, whose swift stroke is evocative of the strength and tension of the copper wire. Isolated from any context, the heads of a woman or anthropomorphic appear as if suspended in time and space, synthetic forms that are still unstable and in the process of being defined. The graphic sign, dense and nervous, draws an amorphous mass that emerges "in negative" from the white of the sheet. The latter appears divided by a dashed grid, also unstable, which outlines another spatiality, superimposed on the two-dimensional surface.
2018, Photolithography printed by hand with Eugene Brisset lithographic press on Hahnemuhle paper 300 gsm, 50 x 70 cm,
Edition of 50 copies + 10 artist's proofs.
Each piece is embossed lower left, numbered on the back and authenticated by the Merz Foundation.
The edition is printed by Litografia Bulla, Rome.
Making use of the most disparate means of expression, from drawing to sculpture, from painting to installation, Marisa Merz (b. Turin, 1926) has insisted since the beginning on the importance of artistic making, recovering artisan techniques such as sewing and weaving, traditionally the prerogative of women. The only female representative of the Arte Povera movement and a protagonist of the Italian art scene since the late 1960s, Merz has participated in numerous historical exhibition.