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forte_forte ed elise peroi
“langage des oiseaux”
langage des oiseaux is an installation resulting from a collaboration between elise peroi and giada forte.
the two conceptual axes structuring the exhibition, namely language and technique, are treated as heuristic fiction.
language corresponds to the birdsong, understood as what survives of primitive language, and technique equates to the knot, conceived as the first technical gesture.
walter benjamin hypothesized that only birds possess a kind of language in which sound and comprehension need no mediation, a pre–linguistic immediacy and a form of pure communication that man knew before entering technology and language and which he has since lost.
délégation wallonie–bruxelles, saint germain – paris.
“la cappa” di giada forte
the birdsong and the knot, two abstractions, serve as the counterpoints to the cape made by giada forte which evinces, one might say, today’s apogee of the weaving technique.
délégation wallonie–bruxelles, saint germain – paris.
in a variation of whites and pinks, each fold and thread inscribe a relationship of tension and rebound, presence and transparency into the fabric, repeating the line motif.
the verticality imposes a certain solemnity.
constructed on a handmade micropleated silk chiffon, on which long fringes of macramé thread rest, the cape is adorned with glass bead lace and crochet feathers.
the installation of elise peroi is made with fabric sourced from the archive collections of forte_forte, elise peroi’s work is made of three superimposed double–sided triptychs, out of which motifs emerge transposing and extending through materiality a thought experience.
loose threads – as if suspended from the surface of the weave – and furrows devoid of weft threads give rhythm to the whole with their uneven thicknesses.
the interplay of density between the almost transparent bare warp and the tangled textiles gives rise to irregularly textured shapes and ontrasting shades of colour.
birds, seeds, and ornaments, like symbols, nestle and unfold from bottom to top. a polymorphous figure stretches across the entire work, equivocally suggesting a cloak, a spectral form, or wings.
elise peroi disavows normative proportions in favour of the spontaneity of form. she gives free rein to the material, echoed by the irregular edges and imperfect lines that taunt the rectilinear appearance of the frames.
the edges and lines form a meta–matrix that evokes the deeply codified logic of weaving and, by extension, that of the binary language from which weaving originated. in this way, elise peroi’s work appears as a subtle surface where language and technique are reflected on either side of the piece, in a disordered harmony which evokes the coexisting tensions at play.
in this way, the birdsong – “pure natural production”3 that has become material expression – and the cape – technical production become “immaterial matter” – do not merge but rather come together, creating new “kin[s] in lines of inventive connection[s]”.
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