Andrea De Stefani

For his second solo exhibition at Fluxia, Andrea De Stefani created a dry garden based on the aggregation of materials and forms of discordant origins, a landscape designed from the reconfiguration of residual forms. The elements that De Stefani has identified, collected and used as a matrix for his sculptures come from a specific environment: the margins of the industrial zone and the urban periphery, a terrain vague described by French landscape architect Gilles Clément in his definition of the “third landscape”.

Roots intertwined with plastic debris, scraps readapted to nests, moss-covered industrial leftovers are some of the forms generated by the merging of contingent environmental and cultural features.
Defining a preferential path within the gallery space and interacting with its geometry, De Stefani draws a crystallized panorama that marks the actual degree of humanization in a new, natural balance.

- See more at: http://moussemagazine.it/smashup-fluxia/#sthash.5FkuWWyn.dpuf

For his second solo exhibition at Fluxia, Andrea De Stefani created a dry garden based on the aggregation of materials and forms of discordant origins, a landscape designed from the reconfiguration of residual forms. The elements that De Stefani has identified, collected and used as a matrix for his sculptures come from a specific environment: the margins of the industrial zone and the urban periphery, a terrain vague described by French landscape architect Gilles Clément in his definition of the “third landscape”.

Roots intertwined with plastic debris, scraps readapted to nests, moss-covered industrial leftovers are some of the forms generated by the merging of contingent environmental and cultural features.
Defining a preferential path within the gallery space and interacting with its geometry, De Stefani draws a crystallized panorama that marks the actual degree of humanization in a new, natural balance.

- See more at: http://moussemagazine.it/smashup-fluxia/#sthash.5FkuWWyn.dpuf

For his second solo exhibition at Fluxia, Andrea De Stefani created a dry garden based on the aggregation of materials and forms of discordant origins, a landscape designed from the reconfiguration of residual forms. The elements that De Stefani has identified, collected and used as a matrix for his sculptures come from a specific environment: the margins of the industrial zone and the urban periphery, a terrain vague described by French landscape architect Gilles Clément in his definition of the “third landscape”.

Roots intertwined with plastic debris, scraps readapted to nests, moss-covered industrial leftovers are some of the forms generated by the merging of contingent environmental and cultural features.

Defining a preferential path within the gallery space and interacting with its geometry, De Stefani draws a crystallized panorama that marks the actual degree of humanization in a new, natural balance.