Biography

Patrizia Pandolfini, a Florentine artist and a pupil of Antonio Berti (author of Mater Amabilis, a sculpture present in the streets of the village), understood the master’s lesson by renewing herself, however, autonomously. He recalls the theme in the two restored Tabernacles (present at the beginning and end of the path that goes from the small town church to Casa Paloscia through the tree-lined Via Valle and Vigna), where – as Tommaso Paloscia himself describes – “The gesture [is] loving , the measured expressions and the forms punctually expressed without the fussiness of the description”. Her sculptures and ink drawings with chiaroscuro ink reminiscent of watercolours are characterised by an evident plasticity. The artist stands out for infusing life force into his works.

Philosophy

Coming from a measured figurative, with so much grace in expressions, however, it never fell into the academic. She has always been driven by the desire for renewal with the overcoming of the description, then fully expressed in the technique of graphics, “a technique where she goes as far as the search for abnormal effects, with excellent results”, in the words of Tommaso Paloscia. Although starting from tradition, she has in fact always shown herself to be stimulated by a singular ability to invent new forms, starting from characters imprinted in her memory, “in the representation of an ideal humanity with which her imagination is populated”, as Paloscia underlines.

Artwork in Castagno

The shape and figure of this Woman are the main themes of her research. Over time it has produced a real series in particular of small terracotta women, mainly refractory bodies, figures captured in various poses: lying, sitting or on their side, just like the sculpture exhibited at Casa Paloscia in La Vigna (Castagno) and recently placed (in October 2020) by Simonetta Paloscia in what has become the Piazzetta delle artiste donne (Women artists’s little square). “It is an autobiographical tale that I cannot do without”, says Pandolfini herself. This terracotta, the artist’s favorite material, was made in the ancient Ferrone furnace, near Impruneta. The language appears simple, immediate and very clear in her formal invention.