Stéphanie Nava, Recouvrements successifs

Preview 22 November - 6.30 pm
23 November, 2007 – 23 January, 2008
Essay by Michele Robecchi





The Galleria Riccardo Crespi is pleased to present Recouvrements successifs, Stéphanie Nava’s first solo exhibition in Italy.

The “successive overlays” referred in the exhibition title refers, can be found in the pencil and charcoal drawings and the installations in which the young artist from Marseilles organizes spatial situations, in the manner of set designs, constructed to allow narratives to happen.

Stéphanie Nava, who spent several years of her childhood in one of Le Corbusier’s ‘essential houses’ in Marseilles, has developed an interest in architecture and the urban environment, which she uses as combined elements, creating constructed visual spaces, structures in which the human being acts repeatedly over time.

Through aesthetic superimpositions that encapsulate the richness of the urban microcosm, what emerges is an idea of community that finds its natural environment in the context of the city. These locations could be defined, to use the words of Walter Benjamin, as vertiginous places for their capacity of vertical projection through successive layers of long-ago times.

The course of Stéphanie Nava’s artistic development proposes, through the structural decoding of the metropolitan horizon, a new socio-architectural investigation that extends from the outskirts to the centre, in which communal spaces become an anthropological place of exchange.

As is clear from the etymology of the titles chosen for the works created by the artist, ‘overlay’, a covering or coating, is the active element present in the photographs, drawings and objects that will be displayed in the three spaces of Galleria Riccardo Crespi. This laminated reality returns in the superimposition, which can be spatial, as in Entre nous (where subsoil is exposed, left visible to the observer), and temporal, as in La Fabrication de la communauté (where two figures are drawn one on top of the other, superimposed as if in a time compression); or comprise both levels of interpretation, as happens in Wall Drawing, a photographic object in which one building assimilates another, bringing about a stratification linked to periods and styles.

On the occasion of the exhibition the artist will create a site-specific drawing in the small atrium of the gallery which, laid out on three levels, modulates from classic exhibition space to domestic and living space and then to the mystery of the basement.