The labyrinth of Antonella Bussanich

The labyrinth is one of the most mysterious and used signs in the various cultures and centuries.

Changing in symbology, forms and materials (and therefore techniques) it remains something that has to do with the concepts of space and time.

It can be realized in different ways and hide in its heart endless things or none.

The labyrinth plays with travel times, with the discovery of the keys to travel it.

It means putting in place strategies to find the right track or, simply, to go through it all.

From a closed and strongly architected space you want an outside.

Antonella Bussanich's Labyrinth is the vision and the possibility to move from an inside to an outside and vice versa.

Its labyrinth is the type that can be crossed without ever having to choose one road or the other.

Like a meditation, with a highly symbolic connotation, a path is followed in the labyrinth of Bussanich.

Through the body the mind finds ways and times to reflect on issues that lie outside and inside her.

We look out over a kind of well where the image of a labyrinth drawn on the sand gradually discolors in the vision of the labyrinth that occupies most of the floor of the Cathedral of Chartres.

The last, in the sequence of images, is that of the cerebral volutes, to close a path between creative sign, symbol and reasoning activity that pour into each other in concentric paths that intertwine, are nodes: thought, human creative activity, symbol and myth, in space and time.

Ilaria Mariotti
art critic and exhibition commissioner