Born in Italy, Alessandra studied Theater Design at the Academy of Fine Arts in Venice and subsequently spent several years in London creating sets and displays.
Working with light for 15 years she has been building a reputation for her dazzling sculptures and installations, and singular use of fluorescent tubes. Her distinctive trait, graphic, essential and immediate, permeates in all her production, that spans from sculpture, drawings, site-specific installations and industrial design.
On Matilde's Light Pieces
My light pieces are like abstract dioramas, minimalist tableaux that exist independently from their surroundings, glowing from within. In them light is an object, a medium: it dialogues and relates with surfaces, forms and materials, making the picture appear in its finished state.
I arrived at this medium through the stage, having trained Theatre Design.Theatre is part of the process that makes me look at light differently, and taught me its potential for seduction and illusion.
The inclination to use words in my artwork is very much the result of my fascination with luminous signage: the very concept of a message that is conveyed and amplified by light, that becomes so powerful through light, is simply amazing. It also stems from a desire to bring my work to a more expressive level: as I'm locked within the limitations of beauty and balance, I like to play with the rawness of words set against formal, graceful settings.
On Matilde's Drawings
My drawings are a mix of tragedy and triumph. They are about light and energy as well as darkness and negation. They are non-objective but are open for interpretation. I'm not imposing an image: I want to draw the viewer into them, to experience the obsession and the drama within them, to become lost in their hypnotizing webs.
In them there's a real struggle between the flaws of the human mark and a striving for perfection devoid of irregularity or conflict.
Their execution process, their intimate gestural nature bear much weight in the finished result. When I draw l have my own flow, my own rhythm, is a continuos play of marks that endlessly interweave into one another. I divide the space over and over, invalidating it, pouring darkness into it. There is nothing hap-hazard, every line has its place.
They sums up a great deal of my visual vocabulary, of what has driven me as an artist so far. I have used light for the past 15 years but unlike my light-work my drawings have a stark personal quality and are connected to my state of mind and to the way I, in turn, relate to art making. But as in all of my work, light - and the negation of it - is very much central to them.