The art-designer: “Fashion and art have an affinity to sell, different sides of the same coin”

Exhibited at the 88 Gallery in London, the table Rhizome – in patinated bronze and colored resin – aroused the interest of the public and critics. And the same thing happened in the mirror Selene drops of bronze, he was so loved that he went around the world several times. Each piece, a unique piece. “My works – says the Turinese art designer Roberta Verteramo, who for years was transplanted to London, “pupil “of Gaetano Pesce – have a strong artistic and aesthetic value, but at the same time they are also functional”.


The Rizhome table, one of the most successful pieces of art designer Roberta Verteramo

Fashion & art, a close link. What are the similarities?
“Fashion determines trends, but I believe that today more than ever, this “fashion-design-art” influence is reciprocal, we are witnessing extraordinary expressions of design where the dress becomes an object of art!”

How can design bear witness to social changes?
“The expressions given to the design object have always represented a historico-social identity. But we have seen experiments where the artist has modeled the object according to his vision of the world. Art-design frees itself from certain design and usage constraints, it is a more dynamic field of expression, open to contamination, much closer to art”.

Let’s talk about creative experimentation. Do we start from the materials or from the idea?
“In my case, starting from the idea and then knowing the materials, I am able to mold them to the “vision” of what I want to create. I experiment and do continuous research on the material, a passion that I nurtured in my past experience as a restorer of contemporary art and design, and notions that I absorbed when I was responsible for the conservation for five years at the Milan Triennale: here I had the opportunity to speak directly with F. Ghery, Mendini, Bellini, Maldonado, Fornasetti sons, and with architects such as De Lucchi and Italo Rota”.

Geometric and organic shapes. How is a work born?
“I’m always inspired by something I see, something that’s in nature. It’s like feeling, coming into contact with the material I’m trying to transform, capturing its forms or its emotions and then restoring them through the created work. If it does not satisfy me, I destroy it”.

What is the importance of nature in your works?
“Very! not only this visible but also this part of the invisible. I believe that duality belongs to every existing thing in life. How does one exist if the other part does not exist as well. I seek the balance between these parts, I try to make them coexist, so in my work I really want to always want to highlight the contrast between the organic element and the more refined, lighter, ethereal one, to precisely reflect the duality. I work the materials to obtain this aesthetic interplay, I want to be able to show myself what is most beautiful and most raw, working it until it becomes precious; it is an eternal dialogue with the matter that I cannot escape”.

Now he also makes jewelry
“Fashion has always fascinated me. I have just learned that my jewelry sculptures will be exhibited in June at Art Basel in Basel”.

After collaborating indoors for Prada and Dior, the Sanlorenzo and Bluegame yachts have arrived…
“Caring for the interior of boats is the new challenge. And I already have a project in the works that I would like to present to fashion houses”.

From Turin to London, the first city that understood your work?
“Yes, I went to London because I hadn’t found the support here to represent my work.…. I left to live in London, a city that gave me a lot, while also taking a lot. But I think there’s the stimulus my mind needs. In London, I was immediately welcomed into the world of luxury, where I made bespoke furniture and surfaces for the world of luxury: interior, Prada, Dior. Then the turning point… the London gallery 88Gallery believed in me and we never left each other. In just three years it was a dream for me, but I fought a lot, I was already in one of the biggest international fairs PAD London and PAD Paris, then I landed with great emotion at Masterpiece Fair… I never thought I would make it, because when I was working in London, every time I went to Masterpice I was like “if anything, think one day I should to be among these teachers!

The project that gave you the most satisfaction?
“All the projects that I realize I do them only if they fully satisfy me, otherwise I destroy them, I never expose what does not fascinate me. The most sought-after work in the world is the Selene mirror, and the Selene line, they also asked me for a custom-made one. I feel satisfaction when I see that my work is appreciated, accepted. It makes me happy because it means that I was able to communicate what I wanted”.

She is an art designer. In Italy he is a little known character
“The figure of the Art-designer is a fully recognized figure in America as well as in England and Paris. In Italy people still ask me what it is, while abroad it is very well recognized. There are realities in Milan for example. who deal with art-design. We consider that in history, however, we have had great examples of objects that we could define Art-design made by great Italian masters!”

Moreover, she was the first restorer of design objects… what did she restore that was particularly interesting and satisfying?
“I have worked a lot abroad and I wanted to bring the culture of the design restaurant concept to Italy. At the start, there were really 10 of us around a table at the Vitra Design Museum. I was the first to deal with the restoration of design and I founded a laboratory at the Milan Triennale. and I restored many extraordinary things of design and also of art like Depero, Burri, Scheggi, Duchamp, Kieffer, etc.”

Tell us about your experience… which can be defined as the keystone.
“The one who showed me that there were artists who did what I had in mind. Contamination between artistic disciplines in design. The best experience I had was when I had the opportunity to speak and work with Gaetano Pesce at the “Rumore del tempo” exhibition at the Milan Triennale, as well as in his studio in New York. I have to thank Gaetano Pesce a lot, he is a teacher for me and he is a great reference on how creativity goes beyond any form and artistic discipline”.

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