The artistic work of Tiziana Lorenzelli is based on two principles: the first is the search for materials, due to her architectural studies; the second is a natural predisposition towards art and in particular sculpture.According to the first point, her research led her to devise a material composed essentially of aluminum that she designed and uses for her recent sculptures. The material with the name "Aluflexia" is very ductile, light and despite having a minimal thickness it has a versatility of use comparable to the one obtained by handling paper, but with the advantage that "Aluflexia" maintains the shape that the operator gives.However, it is the second assumption, her natural inclination to art, which led Tiziana to create forms free from superstructures and historical references that can be considered minimalist. Observing these multifaceted masses, which recall natural finds and which Tiziana calls "nuggets", one may thinks of meteorites exploded in the cosmos and attracted by the earth's gravity.The gold color of these "nuggets" reminds us that since ancient times gold has had the ability to attract human beings and take on a sacred value. It was used in rites and religious decorations, unlike iron it does not oxidize so it is a symbol of irreproachable sense of which many populations built golden idols which they then worshiped.The yellow-gold color is sunlight, so it is a symbol of energy, heat and life.Looking at these golden colored sculptures, you can feel the emanation of strong energy. Always the primary things require a greater psycho-physical commitment and in these "nuggets", Tiziana has lavished a lot of it.
Master Agostino Ferrari, dedicated to investigating the "sign", both in painting and in other fields of artistic expression, intervened on some of Lorenzelli's works - Pepita Segnica 1, Pepita Segnica 2, Pepita Segnica 3 -, enhancing their plasticity with its "anthropomorphic" sign, that is wires made with metal rods, and volcanic sand that embrace and caress the sculptural creations of the artist. He says: "I consider the Nuggets plastic forms as if they were fragments out of space, whether they are grouped together like a waterfall or left single ". Here, then, the "Cosmic Naturalism", theorized by Ferrari about Lorenzelli's work, fully expresses itself in Gold Fractalis, a wall installation in which the material blocks - shiny as gold and sewn together by thin threads to draw an iridescent three-dimensional tapestry - they relate and dialogue: light because they fluctuate like clouds in the cosmos, precise in their compositional rhythm because they are carefully calibrated in the arrangement of the individual elements.
