Galleria d’Arte La Fonderia presents \u00c8 nell\u2019orto, vallo a chiamare! (He\u2019s in the Garden, Go Call Him!), a solo exhibition by Monograff, the artistic name of Tommaso Mannucci, opening on Saturday, October 17, from 6:00 PM<\/p>\n\n
The exhibition originates in a personal memory: a house where the artist spent many summers with his grandparents. Returning to the place years later, Monograff encounters a landscape profoundly altered by the passage of time. The carefully tended vegetable garden, the fruit trees, and the plants that once defined those summers have disappeared or changed beyond recognition. In their place, spontaneous vegetation has gradually reclaimed the space. Among the traces of what once was, one presence in particular draws the artist\u2019s attention: a kiwi plant that, over the years, has continued to grow until it has wrapped itself around and absorbed everything in its path. It is this image, suspended between memory and transformation, that becomes the point of departure for the exhibition. <\/p>\n\n
On view from October 17 to 31, the exhibition takes the form of a single work that gradually unfolds within the gallery. Monograff works with painted mesh, layering one surface over another to create shifting levels of depth. The transparency of the material allows the images to overlap, alter and complete one another, generating scenes in which vegetal and animal forms emerge through an ongoing process of accumulation. <\/p>\n\n
Blue and white, now distinctive elements of the artist\u2019s visual language, create a pared-back, essential vocabulary in which the gesture and the mark take center stage.
In \u00c8 nell\u2019orto, vallo a chiamare, the process of construction extends beyond the individual artwork to encompass the gallery itself. During the opening, new layers of mesh are progressively added and superimposed, allowing the work to grow across the walls.
Each new layer alters the perception of those that preceded it. As in the growth of a plant, one element gives rise to another: it occupies space, shifts its boundaries and gradually transforms the appearance of the whole.<\/p>\n\n
The story of the kiwi thus becomes more than a personal recollection. It becomes a way of thinking about memory, absence and the passage of time. The garden of the artist\u2019s childhood no longer exists as he remembers it. It has been reshaped by what has disappeared and by what has continued to grow. Yet something remains: a living presence that, having survived everything around it, becomes the custodian of a place and of the experiences once contained within it. In this sense, the exhibition moves between past and present. Memories return, but never in their original form; they are reconstructed through new images, new gestures and new layers. Monograff\u2019s artistic process seems to follow the same logic as vegetation itself: one gesture grows out of another, one mark accumulates upon another, one memory overlaps with another, until a complex and constantly evolving organism takes shape. The exhibition is therefore both an act of remembrance and an act of transformation. <\/p>\n\n
And, as in the garden rediscovered by the artist, a simple question ultimately remains: What survives when everything else has changed? Perhaps, as Monograff\u2019s story suggests, only he remains.<\/p>\n","protected":false},"excerpt":{"rendered":"
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