" Form is not other than Void; Void is not other than Form " (Sutra I dC)

    The vacuum, is not an empty void but full of fleeting electromagnetic waves and particles that flashes into and out of being too fast for us to see. It contains the potential of everything that exists and will exist in the future. The reality we perceive is usually partial if not even misleading due to our limited senses with the complicity of expectations and our culture.

    Everything we call real is made of things that cannot be regarded as real.

    (Niels Bohr mathematical physicist philosopher 1885-1962)

    Things we can touch or see are real to us, but their structures, as well as the structure of our body, are mostly made up of empty space and it’s exactly the void that shapes the form of what we can perceive with the senses.

    The traces left by this invisible world, by things that we cannot perceive here and now, reveal the existence of another world; maybe of many other parallel universes the same way a balloon reveals the existence of air.

    The molds of things that are no more, not yet or will never be, become the sign of their reality, the depositary of their memory. Mold steals the soul of things and makes them immortal. It shows what we cannot see: emotions, thoughts, desires, ideas that will never see light, our Soul, Love, the spiritual world and the Divine we belong to.

    The canvas once used to support gauze and plaster has been removed.
    These empty “Shells” are the mold and the cast of the picture that now, with more strength, reveals its presence in the absence. They keep canvas weft on the plaster coat. Without framework, they solidify without any interference catching and fixing the forms of the surrounding void.

    The Shells flex under their weight, they breathe and they expand. They emerge traces of leaves, of archetypal and primary elements, of fractal structure objects as fractal is the universe, revealing a collective memory.

    It’s said that the Soul has its color, a light; that is an armor, a shell, a wall that defends us or to be defended by us. It’s said it evolves, that it could be nourished and “brought back to life”.

    These structures made with gauze and plaster are getting lighter and lighter than the canvas on which they were molded, as the Soul is lighter than the body it embraces. They are enriched by a light that doesn’t let us see things better, but shows us a new reality, a new point of view, another thing. As we turn on the lights in the dark, we can watch things but by observing them we create a new physical reality. In the light of consciousness we shape a new reality.

    Sometimes we have to turn off the light to see

    In the vacuum everything, observable or not, is closely related. Thoughts, ideas, emotions, intentions, desire, our bodies, all of them are energy fields, frequencies, waves interacting with each other and with contiguous fields of energy. Individual is universal, All is One.

    Even though our society spreads the message that people exist until they are visible and pushes virtual realities, cast reveals the importance of the unseen in determining our reality, not the importance of the seen that isn’t real.

    You can’t see inside the gypsum Casts, casts of fruits of Nature, just as you don’t know what’s inside food. We can infer they are not made with plaster as we were expecting when we handle them and we notice their unexpected lightness. They are as fragile as Nature is getting fragile, they are filled with polystyrene: a light, white, apparently innocuous material that isn’t a food source for any living being even for molds.
    An inert substance produced from a cerebral, mutagenic, embryotoxic poison: styrene.

    Denatured are fruits deprived of their colors, white, pure but deadly. To denature means to dye with a different color a substance made inedible and poisonous. And what we eat, drink, breathe often is not so safe.

    We use Nature as a carpet and we hide our trash under it. Like a sinister Midas we modify and destroy the natural world that we touch, violate and encroach on. We pollute what we eat and drink, we have wiped out several animals'' species and we exhaust the soil, we spoil and squander resources belonging to the entire Planet and we use them as if they were our exclusive and unlimited property.

    Nature is Not your Toy

    Fruits of nature are the modern Ready-mades. They materialized in supermarkets as industrial products: selected, packed, modified, beautiful and shiny. They are objects decontextualized: an ear of corn is no longer food but it’s used for energy production, energy that should be made with production waste not with the raw material. Unfortunately the more attractive lands are in Africa where they still die from hunger. What a shameful short circuit.

    Art forces us to pay attention no longer with provocations because the audiences have changed. People got shrewd, addicted and they even feel subtle pleasure while watching more and more shocking images. Reality already provides us with a great deal of those every day.

    Man has to become aware of his inner divinity. He must understand that he belongs to the Earth, to the entire Universe where everything is connected in a dynamic balance and that the infinitely large and the infinitely small determine reality. If our thoughts can interact with our world modifying it, we are creators and responsible for the Universe, protectors of Creation.

    Humanity has the chance to turn back to Nature. If all possibilities exist, if an act of will determines existence, man has to be conscious of that and that the survival of our civilization will depend on a radical change towards a better living. The inner voice of the Soul always shows us the right path, if only we listen to it.


    Francesca Amadeo was born in Carrara in 1970. Her love for art took shape after different work experience. It’s mainly due to the job as flight assistance that she could deepen the reflection on void, on what it’s real but cannot been seen, like space. She travelled a lot and knew people and different realities, but the more she experienced peculiarities the clearer it was a general overview to her. Watching life’s flow in the variety of its forms, from the privileged point of view from a plane, allowed her to grasp the common thread and to highlight the unity of the surrounding world, between man and man, between man and nature, between small and big.

    While flying she never had the feeling of being suspended in space but rather than being contained.

    I think that if our body suddenly disappeared, its trace would be visible for an infinitesimal time before the space resumes its space. Space itself is the mold of things, as real as the body that delimits it.. F.A.

    At first she focused on learning fused glass techniques from glass-master Nadia Ravelli. She finds glass utterly fascinating for its ability, when fusing, to incorporate natural elements such as fish bones and metals, for its unpredictable outcome becoming something different when heated.

    Love for molds increased by attending Fine Arts Academy of Carrara where she graduated with honors with a dissertation entitled Piero Manzoni- From monochrome to achrome.

    By attending ''Master patina artist'' Piero Marchetti's classes, she focused on the importance of surface. Working with Paolo Bresciani, one of the most internationally competent plaster casters, began to cement her interest in the value of cast, her love for gypsum.

    Plaster is natural, environmentally friendly; when drying, it liberates heat and oozes. Like a living thing has its times; it reacts to moisture, heat and environment. Plaster is a material that claims to not be touched, if it is mixed with hands it dries out too fast. You have to sift it and let it slowly absorb water. How much water? When it’s enough it just stops drinking. Gypsum, like in a cast from Pompei, doesn't imitate a form but it takes the place of what the former form left, of what was real.





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