ARALDICA

Araldica: note sulla collezione | Araldica: notes on the collection

The Araldica ceramics collection

In the Araldica collection, multi-faceted creative spirit Federico Pepe expresses

some of the themes fundamental to the character and quality of his work over time.

Conceived as the outcome of a process of artistic invention, the collection arises

from a mélange of stimuli. On the vast scale of large ceramic wall covering slabs,

Pepe’s visual textures acquire the hypnotic, fascinating configuration of a variegated

mixture of colours, inspired by those of traditional marbled papers. Used mainly in

publishing or, more specifically, artistic bookbinding, these papers are produced

using a very old decorative technique, in which a vast number of “clots” of colour

emulate the infinite vein and dappling patterns of the surface of marble.

On these extrovert, high-impact backgrounds, some of Pepe’s designs juxtapose

two different graphic linear motifs, geometrically centred on the slab: a “coat-of-

arms” – a crest rather like a composite shield, alluding to the imagery of heraldry –

and an “hourglass” shape, consisting of two opposing isosceles triangles.

These geometric forms are repeated on the different marbled backgrounds in

a pattern that recalls the exquisite techniques of marble inlay, generating an

intriguing carousel of allusive visual perceptions. As its creator intends,

the resulting product has an extreme graphic impact, referencing the topic of a

disordered sense of sight – including hallucination – to evolve a ceramic collection

with absolute originality of expression.

The solutions provided to complete the range are in a different tone: reflecting

the desire to “stage” a clear contrast with the multicolour ceramic wall coverings,

these slabs are in completely neutral shades, in the grey frequencies of concrete.

Monochrome, or with a subtle coloured motif that is a stylised version of the “coat

of arms”, these materials offer an unexpected counterpoint to the richly decorated

slabs, providing interior designers with a whole range of sounds (a metaphor that

instinctively comes to mind) with different modulations.

In Araldica, Federico Pepe sends us a creative message that not only defines the

aesthetics of a new “interior psychedelia” but also investigates unusual formulae for

perceptive interaction between decorated ceramics and the individual.

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