For the Moorat Raphael Armenian College, the show “Adrift” by
American sculptor Justin Peyser is yet another affirmation of the breadth of culture that we seek to offer in our artistic programming at Ca’ Zenobio.
We can recognized in Peyser’s work, the artistic and intellectual commitment that has always made artistic discovery something more important than simple beauty and that instead highlights through action and thought those elements that we hold to be among the most important for the formation of men and women today.
Indeed, these are the projects in which we recognize ourselves and on the basis of which we ground our current and future artistic offerings, entrusted in this case to the careful and astute selection of Marco Agostinelli.
The message of hope that the artist wants to present to the publicin bringing his show “Adrift” to the Sala degli Specchi fills the antique walls of Ca’ Zenobio with joy and vitality. On the occasion of this symbolic encounter, a joint triumph over the adversities of life, the Moorat Raphael Armenian College
is pleased to continue its sustained practice of hosting varied and powerful international work, because it is in the name of these essential elements that this culture has always been grounded. This is especially true for them, the Armenians of Venice, who from the time of Mechitar di Sebaste have built out of their teaching, research, culture and art a specific and fundamental system of education and almost, we can say, a way of life.
The attack on the World Trade Center on September 11, 2001, in a certain way marked the beginning of a new epoch. On that grim September morning, the collapse of the tallest buildings in New York buried in their rubble the myths of the century that had barely ended. In just a few hours, as the entire world looked on stunned, democracy, religious fundamentalism, and nationalism also collapsed. The United States and the Big Apple, Manhattan, which had been the driving force of a hundred-year dream, became the stage for a terrible awakening. This enormous tragedy accentuated the cultural
and ideological decentralization that had already manifested itself towards the end of the 20th century as a distancing from a certain model, a certain idea.
Their convictions upended, the artists of the second millennium reacted by withdrawing into themselves and their work. The center had collapsed and it was from the periphery that a new beginning would take shape. In the
absence of certainties, there was a move to patiently rebuild hope.
The artistic activity of Justin Peyser revived with a new vigor in 2003 and gathered force precisely in those outer zones of memory that resurge in the unconscious when certainty collapses.
Surfaces become places thanks to the intervention of man. It is this notion that Justin is putting into action in his steel sculptures like Mask-scape and Quilted Landscape.
Surfaces that have been battered, cut, and reassembled in a continuum of space and time. The observer is struck by the circulation through these works of a constant flux of energy, as if the creative drive behind them had itself been imprisoned in the material.