Sabrina Mazzaqui

Born in Bologna in 1964. Lives and works in Marzobotto (BO). She graduated from the Istituto Statale d'Arte of Bologna in 1985, and later at the Academy of Fine Arts in Bologna in 1993.

Sabrina Mezzaqui manages, through a reflective process of self-imposed discipline, to revitalize and express in concrete images and objects the essential detachment from words. The principle of distance, cultivated in the secret rooms of an intimacy that is reflected in her life choices and her periods of isolation and “suspension”, reverberates in a practice – as minutely detailed as it is compulsive – where construction and deconstruction succeed one another. What emerges in all her work, governed as it is by the unwritten rules of a relationship with the world filtered through a literary and diaristic dimension (like a constant background sonority), is the magical concreteness of doing and of a highly concentrated and iterative manuality which is seductive in its meticulous adherence to the apparent simplicity of a sign (or gesture) immersed in the temporal suspension of the ritual. It is almost a way of exorcizing the ineluctability imposed by external, exterior rhythms while, at the same time, being an evocative reference to the “feeling” of memory.

Born in Bologna in 1964. Lives and works in Marzobotto (BO). She graduated from the Istituto Statale d'Arte of Bologna in 1985, and later at the Academy of Fine Arts in Bologna in 1993.

Sabrina Mezzaqui manages, through a reflective process of self-imposed discipline, to revitalize and express in concrete images and objects the essential detachment from words. The principle of distance, cultivated in the secret rooms of an intimacy that is reflected in her life choices and her periods of isolation and “suspension”, reverberates in a practice – as minutely detailed as it is compulsive – where construction and deconstruction succeed one another. What emerges in all her work, governed as it is by the unwritten rules of a relationship with the world filtered through a literary and diaristic dimension (like a constant background sonority), is the magical concreteness of doing and of a highly concentrated and iterative manuality which is seductive in its meticulous adherence to the apparent simplicity of a sign (or gesture) immersed in the temporal suspension of the ritual. It is almost a way of exorcizing the ineluctability imposed by external, exterior rhythms while, at the same time, being an evocative reference to the “feeling” of memory.