Death is shattered and recomposed in the exquisite fragility of glass. The glittering crown of existence is donned, and waits for its counterpart. It is almost as if our gaze alone held together these fragments, these cast-off leftovers of life that Lara Mezzapelle recombines into fragments of forms, solidified, crystallized for a moment in time. They are embellishments on a yet even more remote form, which, deep in the liquid profundities of existence, evades definition, and yet remains total and absolute. The artist salvages the wreckage of the lost, coaxing it into palingenesis, a rebirth of old material in new structures, thought in renewed ideas, joining together philosophy, aesthetics and the very substance of eternal return. These are constructions of deconstructions. Fragments made up of fragments. Compositions of glittering empty space. A freezing in time of fluid harmonies. A dissolution of total and partial into perfect incompleteness. Consonance incongruent. The sculptures become, therefore, authentic visual phanerographs in which life and death pursue the ellipsis of the infinite, where they intersect. They move together, exchange places, each in turn giving way, now leading, now following, one extending the limbs in delicate arabesques under the firm grip of the other. They assume, in other words, the movements of dance. Scattered remains of the ruin are rendered priceless in the exact moment in which the void becomes one and the same as its opposite. Form, although fractured, reassumes its broken, halting breath. The laboured gasp of a suffering that preserves its pain by dispelling renunciation, a rebirth that disproves its own obliteration, a negating of the beginning by refusing the end. 

Text by Alberto Gross