"May my canvas be so transparent it reveals my soul". Thus says Marisa Bronzini in referring to her art, which is nourished with "humble adoration and joy". Her clear, transparent thread becomes truly poetic thread. Marisa Bronzini, with her clear and exclusive love for looms, is a born weaver: she wanted to be a weaver, and as such an artist. She has worked silently and purposefully to draw from her ancient art those masterly frequencies that had been lost. She has been concerned not so much with technique and virtuosity, as with the profound implication of her discipline, the fundamental, original linguistic conditions. She has delved into and carefully examined the rich storehouse of her craft, and also continually compared it to the whole horizon of artistic research, in order to purify and render substantial her idea of weaving as an art. Marisa Bronzini is Tuscan by birth, and her background includes both the refined Venetian tradition, and that of Como, the home of weaving par excellence. Her artistic path, from the popular-tradition influence of her youth works, evolves in the Fifties in a very unitary intersection of painting, applied arts and architecture. In the Sixties Marisa Bronzini developed an even more radical definition of work. Since weaving is a primary skill of civilisation itself, since it is highly symbolic, and also capable of self reflection, which makes it an ideal field for more mature and advanced experience. In other words, Marisa Bronzini no longer thinks of weaving as an applied art. Instead, weaving is the fundamental ritual of the very idea of human skill, and in virtue of its original charisma as a means of total expression, it may be carried out in itself and of itself as an art. This gives rise to the first works of Marisa Bronzini's maturity, after thirty years of activity, culminating in the series Filo and the no less extraordinary series of the Libri. Marisa Bronzini sounds plumbs the materials adopted, linen, cotton, hemp, and silk, to their very essence as objective signs, capable of abstract design and at the same time as substantial signs, emanating tactile and visual effects. She question their texture and tension, behaviour patterns, harmony and disharmony; she allows them gracefully to produce their regular rhythm and introduces continual, diverse variations. She respects their soul and also sets it in gentle, expressive contradiction with the additions she increasingly chooses to insert: beads and crystals, as well as vegetable and mineral elements. She creates a very evocative double register between the work intended as image and as an objective part of the world. There is something oriental about this way of working, so emotionally linked to the materiasl and process, which has developed Marisa Bronzini not as a deliberate, exotic borrowing or highly cultured citation. The dilated atmosphere of the wavering images, which emerge especially from the Eighties onwards; the fleeting and almost imperceptible changes in the tones of the kind of sensuous non-colour, which Marisa Bronzini has chosen to concentrate on, in a kind of highly distilled fullness of the senses. Marisa Bronzini has yet again captured values and not modes, and she has made them the substance and fragrance, pace and breath of the supreme, light experience of identifying her own body, her hands and heart and eye, with the loom. She has attained the essence of weaving, which is the very essence of art. Name "Book of the wind" 10 handwoven leaves in flax, cotton and robinia pods Year 1983 Name "FILO 13" (detail) Sizes 300x140 cm Handwoven with personal technique silk, cotton, flax Year 1980 Name " FILO 36" Sizes 26x26 cm Handwoven with personal technique flax,copper,silk,stone Year 1990