With the work proposed at the Ziem museum, Alejandro Guzzetti has taken up a double challenge. Accustomed to a limitless natural space, he had to adapt to the three-dimensional closed environment of the four rooms of the museum. In the same way, coming from an artistic universe far removed from painting, he had to confront the painter Félix Ziem.

His work leads him to always represent reality in a metaphorical way. How to connect with the spirit of the painter without betraying it, without using it as a pretext? The artist immersed himself in the painting of Felix Ziem, he let the works absorb him until finding a link that would unite them.

The straight lines on some paintings touched him a lot; they appeared to him as a resonance to his own creative work. The stalks of molinie occupy, in an imaged way, the place of the lines drawn by Felix Ziem. Them only are quite long, flexible enough, robust enough to withstand the interventions of Alejandro Guzzetti on their route. Thanks to them, he metamorphoses the gestures of the painter into interpreted gestures; he materializes the lines of painting and makes them appear in three dimensions.
Each stem was selected, after a laborious harvest, to take place in one of the four installations. Each work is different through the creative approach but also through the technique used. However, a link unites them: the molinie, in reference to the traces of Félix Ziem, is used for each one of them. The circle is complete.

With the work proposed at the Ziem museum, Alejandro Guzzetti has taken up a double challenge. Accustomed to a limitless natural space, he had to adapt to the three-dimensional closed environment of the four rooms of the museum. In the same way, coming from an artistic universe far removed from painting, he had to confront the painter Félix Ziem.

His work leads him to always represent reality in a metaphorical way. How to connect with the spirit of the painter without betraying it, without using it as a pretext? The artist immersed himself in the painting of Felix Ziem, he let the works absorb him until finding a link that would unite them.

The straight lines on some paintings touched him a lot; they appeared to him as a resonance to his own creative work. The stalks of molinie occupy, in an imaged way, the place of the lines drawn by Felix Ziem. Them only are quite long, flexible enough, robust enough to withstand the interventions of Alejandro Guzzetti on their route. Thanks to them, he metamorphoses the gestures of the painter into interpreted gestures; he materializes the lines of painting and makes them appear in three dimensions.
Each stem was selected, after a laborious harvest, to take place in one of the four installations. Each work is different through the creative approach but also through the technique used. However, a link unites them: the molinie, in reference to the traces of Félix Ziem, is used for each one of them. The circle is complete.