MO! INCLUSION – INCLUSIVE MOSAICS FOR THE G7 OF INCLUSION AND DISABILITY

This exhibition of mosaics was born in a place, the “Officina dell’Arte” in Pordenone – ITALY (a work centre for adult autistic people) in which people, autistic and non-autistic, work together in a professional manner, bringing it back to life the ancient art of mosaic. “Officina dell’Arte” is a mosaic atelier that is part of the network of services that Fondazione Bambini e Autismo ONLUS, developed over 26 years to follow people and families throughout their lives, with appropriate services depending on the age, talents and preferences that each person has. The exhibition starts from a selection of portraits made by great artists of the past. The works in turn were reinterpreted as mosaics by our special mosaic artists who also made use of different materials, sometimes waste, not always used in the mosaic tradition. So, next to the polychrome glass tiles, we can find nails, screws, shells, buttons, etc. But why an exhibition of faces? The meaning lies in representing the expectation of people who are waiting for the great event that from the city of Assisi and the Castle of Solfagnano will involve the world: the first G7 on Inclusion and Disability, the herald of a society where all people can give their contribution.

The exhibition curators

On the 9 artworks  there is a tactile number at the bottom right to identify them.

Artwork number 1. Portrait of a Young Girl by Tamara de Lempicka, 1901

Mosaic born from the suggestions of the homonymous work by De Lempicka made at the Officina dell’Arte with polychrome glass tiles, mirrors, painted wood, gold tiles and acrylic paints.

Dimensions 50×50. Year of creation 2017

The “Portrait of a Young Girl” by Tamara de Lempicka is an emblematically Art Deco work, characterized by elegant lines and bright colors. The young girl, portrayed with a distinctive style, has a serene expression and an intense gaze. The background is often minimalist, highlighting the central figure. The contrasts between light and shadow, together with the use of bright shades, create a sensation of depth and vitality. Lempicka manages to capture the essence of youth and modernity, making the portrait not only an image of beauty, but also a symbol of emancipation and female freedom of the 20s and 30s. In the work created at Officina dell’Arte the artwork is extremely bright, the face is painted on wood with the exception of the lips and eyes made with glass tiles, while everything else is made with mosaic tiles and glass plates. The dress is pastel green while the headdress is decorated with gold-colored glass plates. The girl is holding, near her face, a bunch of pink flowers, made with polymer clay. The background is made with silver-colored glass plates and mirror.

Artwork number 2. The Green Veil by Tamara de Lempicka, 1924

Mosaic born from the suggestions of the homonymous work by De Lempicka created at the Officina dell’Arte with polychrome glass tiles, colored glass, mirrors, painted wood, murrine, gold tiles, glass grit and acrylic paints.

Dimensions 50×50. Year of creation 2016

“The Green Veil” by Tamara de Lempicka is an iconic work that perfectly embodies the artist’s Art Deco style. In the painting, an elegant female figure is depicted in a bright green dress, wrapped in a transparent veil that gives a sense of mystery and sensuality. The woman, with a serene and confident expression, is in a static, but at the same time dynamic pose, with a slight inclination of the body. The background is characterized by warm tones and soft shades, which highlight the contrasts of the veil and the dress. The use of light and shadow accentuates the shapes and volumes, creating a sense of depth. The combination of fluid and geometric lines is typical of Lempicka, contributing to a visual harmony that captures the viewer’s attention. The work reflects not only feminine beauty, but also a certain modernity and independence, elements that were particularly significant in the period between the two world wars. “The Green Veil” is therefore a powerful symbol of femininity and freedom, enclosed in a refined and sophisticated aesthetic. The painting made at Officina dell’Arte gives the work brightness and color. The face is painted in powder pink on wood, the hair gathered under the veil is made of mosaic tiles in different shades of brown, the veil that frames the face is composed of green and turquoise mosaic tiles, murrine and small precious stones. The iris of the eyes is also made of mosaic, purple with yellow shades that give light to her gaze. The full lips are filled with sheets of fire-red glass. The background, as in the original work, is dark with intense shades, to give greater depth to the work and highlight the main subject.

Artwork number 3. Tamer with Tiger by Fernando Botero, 2007

Mosaic born from the suggestions of the homonymous work by Botero made at the Officina dell’Arte with polychrome glass tiles, plastic, velvet, feather, Venetian enamels and acrylic colors.

Dimensions 73.50×93. Year of realization 2022.

“Tamer with Tiger” by Fernando Botero is a characteristic work of the unique style of the Colombian artist, known for his rounded figures and his bold use of colors. In this painting, a robust woman, portrayed with a strong presence, is lying on top of a tamed tiger. The woman, with a confident and determined expression, symbolizes power and control, while the tiger, with its sinuous body, represents a balance between strength and grace. The composition is full of bright colors and rounded shapes, typical of Botero. The work invites the viewer to reflect on the concept of power, both in a personal and social context, and is an excellent example of Botero’s ability to combine elements of humor and seriousness, creating a memorable and engaging visual experience. The work created at Officina dell’Arte is the result of a fusion of acrylic colors, mosaic and the reuse of waste materials. The bodies of the woman and the tiger are painted, while the woman’s clothes and the tiger’s stripes are decorated with mosaic tiles. The woman wears a mosaic headdress from which a pink feather sinuously rises. The background is purple-red velvet, divided into squares defined by black plastic slats that would otherwise have been thrown away. The carpet on which the tiger rests is entirely made of mosaic, with the use of brown and blue colors.

Artwork number 4. Bather on the beach, 2022

Mosaic born from the suggestions of the homonymous work by Botero made at the Officina dell’Arte with polychrome glass tiles, Venetian enamels, velvet, sand and acrylic colors.

Dimensions 73.50×93. Year of realization 2022

“Bather on the beach” by Fernando Botero is a work that captures the typical aesthetic of the artist, characterized by rounded figures and bright colors. In this painting, a corpulent woman is lying on a sun bed, immersed in an atmosphere of relax and summer leisure. The figure of the woman, with her generous curves, emanates a sense of vitality and presence. The details, such as the swimsuit and accessories, are rendered with a certain simplicity, but reflect the warmth and joy of beach life. In the background we find the waves of the sea and a stretch of palm trees. Botero, through this composition, invites us to reflect on the beauty of the body and the celebration of everyday life, challenging traditional aesthetic conventions. The work created by Officina dell’arte faithfully reproduces the original painting. The woman is painted on wood and wears a one-piece swimsuit made of purple-red velvet using waste materials. The hair is made of black glass. The wooden structure on which the figure is lying is painted brown on wood, while the towel is made of waste fabrics with green and red stripes. The sand is also recycled material that gives the work an even more realistic appearance. The sea in the background is painted on wood while the palm trees are made with mosaic tiles of various shades of green.

Artwork number 5. Study of a soldier’s head for the Battle of Anghiari (detail) by Leonardo da Vinci, circa 1504

Artwork born from the suggestions of the homonymous drawing by Leonardo Da Vinci and created at the Officina dell’Arte with nails and screws of various colors and shapes in painted wood.

Dimensions 60×60. Year of creation 2019.

In October 1503, the Republic of Florence commissioned Leonardo da Vinci to create a large fresco to decorate one of the walls of the Salone dei Cinquecento in Palazzo Vecchio, on the theme of the Battle of Anghiari. On the opposite wall, Michelangelo Buonarroti should have paint another war scene, the Battle of Cascina. It was a highly prestigious and symbolic task: the Republic wanted to celebrate the events that had marked the triumph of Florence over its enemies. It was an extremely demanding work, for the size of the space and the subject, so much so that neither Leonardo nor Michelangelo managed to complete the undertaking: Leonardo failed in his attempt to experiment with a particular construction technique, Michelangeloleft Florence to move to Rome before completing the project. The battle that Leonardo should have painted was fought on June 29, 1440 in Anghiari, near Arezzo, between the armies of Florence and Milan. Leonardo chose to represent the battle between the leaders of the cavalry forces to conquer the banner of the Milanese army: we do not know the original Leonardian painting. The most famous copy is certainly the Tavola Doria, recently attributed to Francesco Morandini known as Poppi. Less known but no less important are two drawings perhaps taken from the original cartoon (which unfortunately is currently unknown to us): one preserved in the collections of the Royal Family of the Netherlands in The Hague (perhaps the version closest to Leonardo’s original) and one kept in the Louvre, the work of an anonymous artist but retouched in the 17th century by Pieter Paul Rubens. The “Red Head of Leonardo da Vinci”, also known as “Study of the Head of a Soldier”, is a fascinating drawing that highlights Leonardo’s mastery in capturing human anatomy and emotions. The figure represents a soldier with an intense and meditative expression, characterized by particular attention to the details of the face, such as the contour lines and the chiaroscuro. The head is tilted, suggesting a moment of reflection or contemplation. Leonardo uses the contrast between light and shadow to emphasize the three-dimensionality of the face, making the expression even more intense. The work created by Officina dell’Arte faithfully reproduces Leonardo’s drawing. The contours of the soldier’s face were first drawn on a painted wooden board, then traced with a series of screws and nails of different sizes to create chiaroscuro in a natural way thanks to the lighting of the exhibition spotlights.

Artwork number 6. Detail from Madonna Litta by Leonardo Da Vinci – 1490-1491

Mosaic born from the suggestions of the homonymous work by Leonardo Da Vinci made at the Officina dell’Arte with polychrome glass tiles, shells, glass beads and painted wood.

Dimensions 70×70. Year of creation 2019.

The “Madonna Litta” by Leonardo da Vinci is a Renaissance masterpiece that represents the Virgin Mary with the Child Jesus. This work, dated between 1480 and 1490, is known for its extraordinary expression of sweetness and intimacy. In the painting, Mary is depicted holding the Child Jesus in her arms, who leans affectionately on her. Their faces are delicately modeled, expressing love and tenderness. The Madonna wears a blue and red cloak, symbols of royalty and humanity, typical of iconography. The veil falls from the head and wraps lightly around the little Jesus, who holds the goldfinch in his left hand, a symbol of the Passion due to the blood-red colour of his head. The background is characterized by a shaded landscape that gives depth to the image. The composition is harmonious and balanced, with a soft light that envelops the protagonists, creating a peaceful and contemplative atmosphere. The “Madonna Litta” is a masterful example of Leonardo’s ability to merge the sacred with the human, emphasizing the deep bond between mother and son. The work is also famous for its use of chiaroscuro and perspective, elements that make the faces vibrant and three-dimensional. The “Madonna Litta” is now kept at the Hermitage Museum in St. Petersburg, and is considered one of the great symbols of Renaissance painting. In the mosaic artwork created in Officina dell’Arte you can admire the detail of the face of Madonna Litta made with polychrome glass tiles, shells, glass beads and painted wood. The pale and angelic face, the brown hair and the red dress are acrylic painted on wood. On the edge of the red dress, glass beads are applied to decorate the dress. The edge of the cloak that rests on the shoulders is filled with gold-colored glass tiles. The headdress is studded with shells that find a second life in this work, abandoned by the sea, are recycled here as precious gems. The background is a composition of black, gray and silver polychrome tiles. The frame is made of black painted wood.

Artwork number 7. Frida Kahlo’s Bus, 1929

Work born from the suggestions of the homonymous artwork by Frida Kahlo and created at the Officina dell’Arte with acrylic colors, glass paste, Venetian jumps, grit, wood, colored glass, marble, murrine, glass with gold leaf and everyday objects.

Dimensions 183.2×83.2. Year of creation 2022

In 1925 in Mexico City, on an ordinary day, Frida and her boyfriend Alejandro get on an old and crowded bus. The girl manages to sit down thanks to a man who gives her his seat. The man holds in his hands a bag containing a golden powder that he says he wants to donate to the Virgin of Guadalupe – the bag can be found in the painting. Frida, attracted by this content, lets her forehead be gilded with the powder that the man defines as protective and salvific. Unfortunately, at that exact moment, the bus collides with another. Frida describes the incident in her confused state in one of her many letters. Frida Kahlo was 20 years old and that accident will profoundly mark her life. Due to this accident, her artistic career comes to life: forced to a long hospital stay and slow recovery, she begins to paint until 1954, the year of her death. Painting was the only saving act for her shocked and tormented soul. She painted “The Bus” in 1929, with bright colors and a square and perspective background. A long line of people appear seated, a child who looks out the window to observe the outside, a man with a hat holding a bag in his hand, a barefoot woman breastfeeding, a man dressed in blue, a woman carrying a basket and Frida, who represents herself as the last passenger. Apparently a work that does not refer to any torment of life, instead it could represent the different cultural strata of the population. The work created at the Officina dell’Arte, of large dimensions, combines the classic mosaic technique with the reuse of waste materials such as shells, wood, pieces of bark, various fabrics. The work faithfully reproduces the original by Khalo. You can therefore see the six protagonists created using paint and decorated with polychrome mosaic tiles, murrine, glass plates. The bench on which they are sitting is painted, the walls of the bus are made of wood, the floor is made by sand-colored tiles. In the background two buildings stand, the walls are painted on wood while the windows are decorated with mosaic tiles. In the background, green hills are painted on wood and the trees are made of waste bark and shells that make up the treetop. The sky is made of small glass tiles of various shades of blue.

Artwork number 8. Judith 1 by Gustav Klimt, 1901-1902

A mosaic inspired by Klimt’s homonymous work , created at the Officina dell’Arte with gold tiles, sheets of gold glass, painted wood, Swarovski, murrine, glitter and acrylic paints.

Dimensions 60×60. Year of creation 2018.

“Judith I” by Gustav Klimt, created between 1901 and 1902, is an iconic work that represents the biblical figure of Judith, famous for having beheaded the Babylonian general Holofernes.  Judith is depicted in the foreground, with an expression of determination and power. Her figure is wrapped in a golden dress and complex patterns, which reflect her status as a strong and autonomous female figure. She holds the decapitated head of Holofernes in her right arm. The generous use of gold and the decorative details give to the work an almost mystical aspect, creating a contrast between Judith’s beauty and the violence of the act she commits. The background is composed of abstract and golden patterns, which make the figure of Judith even more central and magnetic. “Judith I” explores themes of femininity, power and seduction, revealing the complexity of the female figure in art and culture. Today it is exhibited at the Vienna Opera Museum. The work created by Officina dell’Arte depicts the portrait of Judith. The face and the dress are painted on wood, the dress has been sprinkled with glitter to give shine to the dress. The jet black hair is made with glass tiles, the necklace is made of gold-colored glass plates, pearls, swarowski, murrine. The background is made of gold glass plates on a black background.

Artwork number 9. The Expectation by Gustav Klimt, 1909

Mosaic born from the suggestions of the homonymous work by Klimt created at the Officina dell’Arte with polychrome glass tiles, painted wood, murrine, glitter, gold tiles, Swarovski, and acrylic paints.

Dimensions 60×60. Year of creation 2018

“The Expectation” by Gustav Klimt, created between 1905 and 1909, is an artwork that captures attention for its symbolism and its decorative beauty. The painting is characterized by a stylized female figure who stands in a waiting pose, with her head slightly inclined and her gaze on the horizon. The dress is richly decorated with geometric and floral motifs, dominated by gold and red colors. The use of gold leaf gives the work a luxurious and sacred flair. On the background, the tree of life extends in elegant spirals, creating a sense of movement and dynamism. Klimt manages to convey a feeling of temporal suspension, emphasizing the emotion of waiting itself. “The Wait” is a work full of symbolism. The female figure represents waiting itself, a universal theme that can be interpreted in various ways. The dress decorated with geometric and floral patterns symbolizes the complexity and beauty of life, while the branches of the tree of life represent the connection between all forms of existence. The theme of waiting can be seen as a reflection of the human condition, a moment of suspension between the past and the future, between desire and fulfillment. The use of gold leaf not only adds an element of luxury, but also gives a sense of eternity and sacredness to the work. The work created by Officina dell’Arte frames the woman’s close-up. The face and body are painted on wood, the hair is decorated with black mosaic tiles and embellished with a golden glass headdress, murrine and polychrome mosaic tiles. The jewels and dress are made with gold and bronze glass plates and murrine of various shapes and colors. The light background is made with yellow glass tiles, while the tree of life is made with bronze glass plates.

We remind you that all the works are on sale to support Fondazione Bambini e Autismo di Pordenone.

For information, send an email to direzione@officinadellarte.org

We thank the Italian Union of the Blind and Visually Impaired ETS-APS Pordenone – U.I.C.I. for the great support in creating QR codes, dedicated text and Braille captions.