Roberta Luppi’s sculpture is linked to the expressive and structural potential of clay slabs where plastic experimentation drives both the design of functional objects and the creation of sculptures. The concave-convex works are organized in a space in various shapes, endowed with stability and lightness, revealing their artistic dimension. The shapes are conceived as dynamic structures, open and continuous, analysing the multiple possibilities of interaction with the environment; thus they suggest many uses and organize architectural spaces. The research contains and distils the natural world inquiry, perceived as a perfect unitary manifestation of functionality and aesthetic values.
As she has often said, her work is an ongoing experimentation, an uninterrupted flow of creativity, a solid relationship with matter, like clay, with which takes place a process in which there is no abuse, but on the contrary a collaboration, a construction of new meanings and new forms, capable of giving shape to an idea, even the most whimsical. However, the medium used by the artist, the clay, which then becomes ceramic, gres, porcelain, is always re-thought with the idea of pursuing and re-create shapes of Nature.
A fascinating translation of the natural element according to the dictates of an abstraction that is planning, a mixture of objective data and subjective evolution, an emotional re-interpretation of what surrounds us every day.
Every new form created by Luppi, even when it is daring, is the bearer of something else, of a purity that seeks, digs into the depths of the unconscious to find tangible substance, explanatory figuration, but also its imaginative cosmogony.
Where does the poetics of Roberta Luppi lead us? The surrealist value takes hold of only a part of the interpretation, at some point it will not matter anymore the phenomenal realism of the object, but rather, how much is hidden beyond its form and what everyone can discover according to their own sensitivity. And this process can be explained by acknowledging the artist’s path. Today, as she states: “finds development in the environmental sculpture” and, in the most recent works, becomes a dynamic union between idea and matter, planning and objective dimension, even more in functional contexts from an anthropological and urban point of view.
In advancing both maieutic, phenomenal and formal research of the artist and designer, a firm point remains the medium of the clay slab, that has become the favorite protagonist of Luppi thanks to its changing nature, capable of creating both concave and convex surfaces, that leads us to a vision that is both equal and opposed at the same time, which is, on the other hand, a speculative and existential metaphor, as well as an aesthetic one.