Lisa Nocentini ceramics Italian Ceramic Masters Lisa Nocentini
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LISA NOCENTINI

Address: Via della Chiesa, 89 50125 Firenze
Telephone: +39 055 229104
E-mail: lisanocentini@lisanocentini.it
Website: www.lisanocentini.it

History
Lisa Nocentini began working in the field of ceramics with an interest in objects. The “low” culture of popular art, figurative contaminations and the combined use of various other materials have contributed to the emergence of her first works. Her most characterizing contribution, however, is her most recent work dedicated to figurative sculptures that seem to have come straight from the pages of a medieval bestiary. The “monsters” that kept watch over the capitals, portals and walls of Romanesque and Gothic cathedrals are reintroduced to modern life as figures which have been mutilated or are comprised of both human and animal parts: dogs and birds with human heads, bodies speared with fish that take the place of the arms, permeations and combinations carried out in a crazy surgeon's operating room and on the brink of fantasy and the surreal. Bright and vivid color, together with a streak of irony, partially divert one’s attention from the more horrific aspects of this visionary work, and aid in transforming it from the matter of recurring nightmares and of vestigial interior tensions. When tightly packed away in boxes, these Hieronymus Bosch-like beings spark relationships among themselves which go beyond the visual; when they assume the nature of true sculpture their “diversity” from the standards of a smooth, sugar-coated vision of what is real – predominant these days and dictated on a daily basis, with a placebo effect, by the mass media - appears even more evident. The shock effect present in the works of Lisa Nocentini is similar to that found in the ceramic works of Andrea Perini and Federico Bonaldi. It demonstrates, however, the capability of furthering these themes, blending a common visual anarchism and rustic brutalism with works in which the desire to be heard becomes captivating and, often, indulgent as well. Popular ceramic culture, which is often desecrating and irreverent, has made important contributions to this search for an opportunity for “low creativity”. Lisa Nocentini sees in it a fertile breeding ground for a contemporary offering which fits happily into the larger scheme of an old tradition, undeservedly considered marginal, still awaiting appropriate redemption.

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