For her artwork, “Il Rinascimento Sospeso”, initially shown at the Celle Frigo in Prato, artist Victoria DeBlassie reflects on the themes of conservation, change over time and environmentalism by examining what is deemed useful enough to be preserved. Using the history of citrus in Tuscany as a point of departure, DeBlassie unveils citrus’ embodiment of how cultural value is constructed and deconstructed over time and how this value is what determines what gets conserved and what doesn’t. During the Italian Renaissance, citrus was only available to the wealthy, and it was housed in lemon greenhouses or limonaia made especially to preserve and keep this type of fruit alive in the winter months in an area in Italy where it wasn’t natural for them to grow. Revealing change and development over succeeding centuries, oranges decreased in value cross-culturally as they became ubiquitous. DeBlassie applied ecologically sound Tuscan tanning techniques to citrus peels to preserve them, and there is a noticeable difference between the top more recent tanned rinds from 2019 as compared to the lower darker ones from previous years, adding to the notion of change through time. To recall the fruit’s history, the artist has created a type of cascade that at once recalls the dramatic Renaissance fountains as well as a piece of meat hanging from meat hooks at the Celle Frigo in Prato, a stark contrast meant to reflect both the history of the material itself and the history of the location.
To elaborate, the transformation of the orange from exotic to mundane also metaphorically serves to talk about the conceptual craft content within her work. Crafts and oranges in Italy, where both previously held an elevated position in the culture, have declined in importance over time. The first became outdated worldwide by faster mechanical modes of production. The second turned into a commonly cultivated commodity. Although industry produced convenience, it has also polluted the environment and compromised the cultural significance of the handmade and craft. The artist believes that producing what we need by hand will regain cultural relevance out of an increased awareness of ecological necessity. By applying ecologically sound Tuscan tanning craft techniques to the rinds to preserve them, DeBlassie therefore also attempts to materialize and come to terms with conversations surrounding the preservation of our environment through material reuse, the handmade, and ecological sustainability. In this work, the artist seeks to rebirth both the citrus’ symbolic worth and the value of the handmade as a way to rethink ecological concerns. With a worldwide and environmental need for sustainable materials and modes of production, it is a vital time to emphasize the cultural and ecological value of craft and creative reuse of materials as well as to accentuate the importance of preserving the environment.
BIO: Victoria DeBlassie is a multidisciplinary artist who primarily uses sculpture and installation to recontextualize discarded objects and materials to suggests the excessiveness of material culture, the human impact on the environment as well as change and development over time. DeBlassie was born and raised in Albuquerque, New Mexico (USA) and currently lives and works in Florence, Italy. After receiving her BFA from the University of New Mexico in 2009 and MFA at the California College of the Arts in 2011, DeBlassie was awarded a Fulbright Grant to Italy. Victoria has participated in numerous residencies, including Hangar.org (SP), Bridge Art Residency (IT) and Vis à Vis Fuoriluogo 23 (IT). Recent solo exhibitions include Anthropomorphic Cosmesis, Finestreria (IT), Plasticaia, Villa Romana (IT), and Cascade at Cartavetra (IT)). Her latest group selected shows include Per quanto tempo e’ per sempre, Celle Frigo (IT), The Recovery Plan, Fondazione Biagiotti Progetto Arte (IT), as well as two-artists shows including: Trame Plastiche—Bridge (Collaboration with Leonardo Moretti) Vicoli d’Arte (IT); Cenacoli Ombrellìferi (Collaboration with writer Connor Maley), Chille de la Balanza (IT); Interpretation of a Seed (Collaboration with Maria Nissan) at Le Murate Art District (IT).