The artist, Michele Iodice was born in 1956 in Naples, where he lives and works. He also works for the Naples District of Museums as a senior executive.
He is the author of numerous in situ interventions, exhibition set designs, installations, and décors: where he sees sites as spaces to be interpreted and on which to effect meaningful transformations rather than as mere containers for works created elsewhere.
He has also created theatrical sets, festival and celebration scenarios, as well as objects of design, with rich inventive profusion and an intentional alternation between large works and small objects, between the conceptual and the decorative: in him a Renaissance–like impulse is clothed in modern guise.
The key to correctly understanding Michele Iodice’s work is indeed, perhaps, in its belonging to modernity (in his re-
The cultural and historical stratifications of Naples, unlike the geological, are not horizontal, as discontinuous as they are, but occur, rather, through reciprocal contamination and transparency and through the recycling of models which adapt fluidly and ingeniously to the stimuli and to the needs of everyday life. Embodying this brilliance of spirit, Michele Iodice’s creations span the centuries, the styles, the suggestive influences and the insights that have produced them,” giving life to objects, new and original both in form and in function.
Their originality resides, almost paradoxically, in their ability to combine form, beauty and function in an unexpected adaptation of combinations and materials, of energies and sensations which dynamically carve out and shape space and redesign their own mythology and their own function with unexpected seduction and subtle irony.
A nest, an ancestral symbol of refuge, now rendered on the human scale, embraces and gathers you welcomingly into its intertwined arms.
The essential, modern severity of metal tubing combines with the two-
The malleability of rippled aluminium sheet scraps becomes an infinity of cornucopia, to adorn a table or to direct the light of a lamp.
The geometric sobriety of a classical mosaic spreads itself sensually over the material of a large table cloth.
The prodigious malleability of lead and its link with our idea of Ancient Greco-
The astrolabes, or the San Gennaro heads atop the body of sphinxes are pure objets d’art, transcending time and the history which engendered them, reconciling our gaze with and through the eternal harmony of forms.