Flower and Leaves n.2

Giuse Maggi employs diverse and contrasting techniques, ranging from kilnformed glass to basketry, transforming vases, baskets, and containers into contemporary forms. The glass object is fused and shaped, becoming the starting point for further development. Fibers act as a connecting thread between different materials, while the weave creates a bond that unifies them. The use of basketry techniques in her work embodies the essence of the creative process. Its gradual and slow progression encourages meditative reflection and introspection, often generating new ideas and unexpected solutions, ultimately surprising the artist with the result. Flower and leaves are a new series of basketry works: Flower and Leaves presents itself as an object-sculpture of strong formal simplicity, where the dialogue between different materials creates a refined poetic synthesis of nature. The clear glass structure, curved and perforated, evokes the flower through an abstract stylization: its transparency captures the light, conveying a sense of lightness, fragility, and purity. The modulated surface suggests the rhythm of petals without describing them literally. Interwoven with this luminous presence is the organic element of the leaves, created from natural fiber made of iris leaves. The woven vegetal material embraces and accompanies the glass like a spontaneous growth, introducing warmth of tone, tactility, and the memory of the handmade gesture. Its irregular texture contrasts with the precision of the glass, creating a dynamic balance between the natural and the crafted. The work therefore suggests the union of two temporalities: that of glass, a durable and crystallized material, and that of plant fiber, living and changeable. Flower and Leaves becomes a meditation on the transformation of matter and on the possibility of allowing delicacy, strength, and harmony to coexist within a minimal and evocative. The artist feels today a profound urgency: to return to simplicity, scaling back the polished allure of the new and the emphatic celebration of innovative materials, often praised as symbols of contemporary design. Yet this ostentation risks becoming an excessive amplification of the banal and the useless. These are times that call instead for a reconsideration of pragmatism, restraint, and the essential.