The space where the encounter between Nicoletta Staibano and ceramics occurs is one of surprising geometries and alchemical fusions.
Even before completing her studies at the Academy of Fine Arts in Perugia, Nicoletta Staibano had already exhibited her first paintings. These immediately gained attention due to the impression made by the large dimensions of the painted surfaces and their impact, which originates from relentless experimentation with colours and materials not traditionally associated with painting. It was therefore entirely natural for her to choose the airbrush as the tool best suited to present her work.
Through her innate driving force, an essential combination of curiosity and experimentation, she discovered how her artistic development could also introduce novel elements to ceramic by giving it a glass-like transparency while at the same time approaching it like a canvas. Through this approach, genuine paintings were created on ceramic. Forms borrowed from antiquity and from the architecture of furnishings - fruit of the artist’s own study, drawings and designs and made by master potters in Deruta - became multi-coloured abstract canvasses with an abundance of space for the artist’s communicative intensity, as well as the free interpretation of those who view them.
In addition to this, there was the transposition of her material technique and approach to ceramic, as a further element of continuity with her painting. Firstly, the airbrush assumed an innovative character in a new context of use, depicting Nicoletta’s style in an unmistakable manner. In the same way, material experimentations led the artist to meld together glass, metals, silver powder and ceramic, as testimony to her tenacious striving for lightness and transparency, which allowed her to achieve artistic uniqueness in works that are also furnishing accessories.
If her approach to experimentation and to work on large surfaces satisfies the artist’s need for freedom, including in terms of organisation, her mindset is characterised by order. The geometric motifs of her furnishing works are a striking example of this dichotomy of feeling that gives rise to her art, which, as it crosses over into design, satisfies the eye and adapts itself to traditional living spaces, as well as more modern ones, with absolute ease.