ISAURA – The thin cities
Isaura, city of the thousands wells, is said to rise over a deep, subterranean lake. On all sides, wherever the inhabitants dig long vertical holes in the ground, they succeed in drawing up water, as far as the city extends, and no farther. Its green border repeats the dark outline of the buried lake; an invisible lanscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rock’s calcareous sky. Consequently two forms of religion exist in Isaura. The city’s gods, according to some people, live in the depths, in the black lake that feeds the underground streams. According to others, the gods live in the buckets that rise, suspended from a cable, as they appear over the edge of the wells, in the revolving pulleys, in the windlasses of the norias, in the pump handle, in the blades of the windmills that draw the water up from the drillings, in the trestles that support the twisting probes, in the reservoirs perched on stilts over the roofs, in the slender arches of the aqueducts, in all the columns of water, the vertical pipes, the plungers, the drains, all the way up to the weathercocks that surmount the airy scaffoldings of Isaura, a city that moves entirely upwards.
FEDORA – Cities and desire
In the center of Fedora, that gray stone metropolis, there stands a metal building with a crystal globe in every room. Looking into each globe, one sees a blue city, the model of a different Fedora. These are the forms the city could have taken if it had not, for one reason or other, become what we see today. In every era someone, looking at Fedora as it then was, imagined a way to make it the ideal city, but while he was constructing his miniature model, Fedora was already no longer the same as before, and what until recently had been a possible future was now just a toy in a glass globe.
The building with the globes is now Fedora’s museum: every inhabitant visits it, chooses the city that corresponds to his desires, contemplates it, imagining his reflection in the medusa pond that would have collected the waters of the canal (if it had not been drained dry), of strolling along the top of the high canopied avenue reserved for elephants (now banished from the city), of sliding along the spiral, twisting minaret (which no longer has a pedestal from which to rise). On the map of your empire, O Great Khan, there must be room both for the big, stone Fedora and the little Fedoras in glass globes. Not because they are all equally real, but because all are only alleged. The one contains what is accepted as necessary when it is not yet so; the others, what is imagined as possible and a moment later, is possible no longer.
S 18 Little Fedora Murano Glass 2016
S 13 Isaura white
S 17 Fedora 2016 Vetro di Murano
S 12 Isaura mat vetro di Murano
S 16 Fedora 2016 Vetro di Murano
S 11 Isaura mat bordeaux (la città sottile)
S 14 Isaura Black and White 2016
S 10 Isaura wind (la città sottile)
Sara Forte was born in 1978 in Verbania, Italy.
A self-taught artist who since an early age has been dedicated to painting.
Under the tutorage of Master Antonio Vittorio Alfieri, Sara experimented with many art forms including graphite drawings, oil pastels, sanguine, drypoint, mezzotint and etching. She went onto master oil and acrylic art forms.
What was originally a passion has become her career. All her artworks derive from her personal experience and research. The key elements in her work are the balance between shapes and colors, pictorial tradition and innovation.
The original instinctive brushstroke has become a vehicle to impart a universal message.
The style of her artwork has evolved into an abstract and symbolic “new wave”, that reflects the artist’s sensitivity.
Sara Forte refers to the scroll images depicted in her paintings as “Papyrus”. She uses them as a metaphor of the constant “in fieri”, the ceaseless evolution, of mankind.
She has worked together with goldsmiths to create unique pieces of jewellery. She has also designed her own prints for clothing and accessories.
For a number of years she has been using the most famous of the Murano’s furnaces to create her unique glass sculptures that originate from her “Papyrus” images depicted in her paintings. The glass sculptures acquire
an allegorical value, with references to the works of the best known writers of the 20th Century.
Silicon discs have replaced canvas for her most recent artwork. The Silicon disc is used as a conceptual element to represent the evolution of communication. Silicon, the material used today to produce tablets, smartphones and computers, will be the object of future archeology. In her artwork it represents the synthesis of the complexity of the postmodern living.
This versatile experimental artist is currently exhibiting her works in Italy and abroad.
Sara Forte has exhibited in Italy, Austria and France.
She lives and works in Milano.