Giovanna Barbero


In any case, in Rovati’s vocabulary and innermost conviction, certain negative words or adjectives, such as, for example, ugly, useless, discard, or waste, do not exist and have no place at all. The artist has the ability to look in depth, to identify, see, enhance and re-propose every positive aspect of any object or fragment of it, and place it in a prominent position, where it immediately becomes a living and important subject, often endowed with a new life, recreated, totally different, better, certainly nobler – and even with greater expectations of eternity – than its former one.

This highlights the important role played by materials in Rovati’s hands, their nature, their origin, their history, and also their metamorphic capacity and adaptability to a future that speaks of art and beauty, achieved through an alchemical process, which begins even before the raw state of the philosopher’s stone, both in a real and figurative sense. Such materials are often redeemed from a destiny of uselessness and raised to the role of messengers of high thoughts.

An easy and effective comparison could be that between a block of marble still to be moulded and some plastic shards that have already been discarded and are, therefore, deemed unusable. It would seem that they have nothing in common: in fact, the former is a noble material, while the latter is sheer waste. The former is “the” material par excellence, with an artistic destiny, while the destiny of the latter is, at best, recycling. In addition, as for the stone, modelling is its first experience, while the recycled objects already come from a previously life made possible by man; they have already been creatures, derived in turn from rough molecules. On the contrary, the fortunate encounter with the artist Rovati offers the story of these humble things a substantial turning point, and when it seemed that their life cycle had ended forever, then a new, beautiful, elegant creature emerged from the ashes, with an ascending motion, like the soul leaving its  mortal remains, poor and ephemeral, to show a completely different substance, including that of communicating to mankind aesthetic messages after being previously just imprisoned in an insignificant object of practical use and without any nobility. If we consider that such transformation, or rather, creation, takes place thanks to the fire of passion, that is, the life-giving fire, and to real fire, it is evident that true combustion is called Love […]

Florence 2017