OBRAS:

ANOSMIA

The perception of this sinuous work by Tamara Repetto begins with these almost synaesthetic and total signals. The vibrant impellers of “Anosmia”, an installation of tubes of Plexiglas each containing a cascade of glass rods that are driven by a motorised thrust, moving the olfactory wafers, are “soul informers”, impulses that drive the regions of the mind beyond the tautology of “what you see is what you get” (13), thereby going beyond reality itself. This dichotomy requires some imagination, an expansion that only the lunar landing of art can provide, in order to measure itself against the zero degree and cause appearance and depth to communicate freely. From the Greek “σημεῖον semeion”, semiotics is the discipline which studies signs and the way in which they form a meaning, that relationship which, through memory, activates an awareness in us that triggers synapses. This process is an inherent part of the approach which man applies to the things of life, but escapes the codices of art which are enlarged and made possible and elastic under the drive of an unprecedented power, the strength of the work which continuously bounces us between instinct and instinctiveness, between understanding and alienation, in a space in which the virus of contamination alters the static incrustations in which we tend to barricade ourselves. Identity, connectivity and collectivity meet in the instability of the fractal object in order to conceive a necessarily multiple thought, both from the point of view of the crossovers of the multidisciplinary and technological language employed by Repetto, and from the point of view of a focus on a psychic and social interest that intervenes in the viewer. A milky way of plural creative procedures poised between lyricism and technology, between the warm temperature of the involvement of the senses and the cold temperature of glass, the clarity and the formal, incisive, almost statistic delicacy of transparent elements. A site-specific installation artist, Tamara Repetto concentrates on the characteristics of the place with which the work will coexist, beginning with the odours present and inherent to the place that will house the work and with which she builds an empathic relationship particularly focused on an olfactory and sometimes auditory map. The specific nature of her research revolves around the consideration of the change that these events bring about, the parrying of changeable perceptions by means of small insertions, omissions and developments and the deceptive ability which the geometry between the chemistry and architecture of the work of art help to create with disarming complicity.
Martina Cavallarin 2012

ATAVISTIC EVOCATIONS

Several hanging iron sculptures are arranged in the exhibition area. They are shaped like nests intended as alcoves, place of withdrawal and rest, of comfort and protection from hazards of the outer world. A place of birth and death.
Every nest contains loudspeakers and diffusers of olfactory essences that create different sound and smell complex for every nest and refer to nature, domestic environments etcetera.
The visitor discovers fascinating sensory micro planets that correspond to intimate mental settings.

TIME OF RAIN

The environmental installation involves all senses including olfaction, a sense that is often confined to a secondary role.  Water is the protagonist of this work as a vivifying element, mean of communication, channel of energy transmission. In this installation the visitor can experience synaesthesia. The accurate use of smells leads him through olfactory tales creating pathways of memory.
A cubic structure whose side panels consist of linear water flows offers a space for meditation and inspiration, a shelter from  what happens outside. Essences of flowers and clay accompany a multisensory walk.