Meri Tancredi

Meri Tancredi (b. 1976 in L'Aquila)

Current project Border area - Increase the liquefaction to resistance, personal exhibition in the UNU space dedicated to contemporary arts, is part of the first Festival of the Arts, organized by the Projects Foundation Beverly Pepper, Todi (Pg); Medialismi 2.0‘2.0, curated by Gabriele Perretta, various locations Corciano (Pg); Disabitare/Disabituare Sciame Project, curated by Davide Silvioli, Museo Civico di Palazzo Santi, Cascia (Pg). The latest experiences, the virtual residence, the projects Museo Immateriale/Silenzio  Museo Civico Mattia Preti di Taverna (CZ), Telai, Officine Fratti in Perugia and virtual publication Ti do la mia parola, both curated by Butik Collective.

In 2018 the residences Art in studio/Meet the Artist, curated by UrbsPicta and DiplomArt, Spazio Bedeschi for ArteVerona open studies; and at the MABOS, Museo del Bosco della Sila. Invited by the city of Tübingen for the Kulturnacht, for the Sister City Light Festival, in the space of Shedhalle Forum for Contemporary Arts. In 2018 he joined the public collection of the MUSA, University of Campania, L. Vanvitelli, Caserta; and the collection of works on paper of the Vallicelliana Library in Rome. In 2016 she participated in the residences "BocsArt" in Cosenza and "Ritratto a mano 3.0" in Caramanico Terme (Pe). In 2015, she placed second at the Artist Book Prize of Madrid's Fundaciòn Ankara, and she was selected at the "Re_Place" award, L'Aquila. In 2014 she has been finalist at the Henraux Foundation Sculpture Prize, Lucca. In 2012 she represented artistic twinning between the cities of Perugia and Grand Rapids, where she participated in the exhibition Body Double: The Figure in Contemporary Sculpture, edited by Joseph Becherer, at Frederik Meijer Gardens & Sculpture Park in conjunction with the ArtPrize.


My artistical path has brought me to investigate the written word and its relationship with the supporting material and the space in which it’s placed. Black capital letters, written in an anonymous, plain font, typified my artworks since long time, so as the ability to paint aniconic subjects so as transparent and technologically impersonal materials. The archetypal purity of letter’s shapes, emphasizes – through my paintings’ surface – the physical essences that leak out of the black. Shapes of text conceptually emerge from our memory more then from the canvases.

Recently, the spatial definition of my works and their linking with an ancient thought characterized my work at the most. My artistic path expanded toward different languages and cultures, through installations that combine our far-off memory with archetypal patterns analyzed while surfacing in sensible aspects of contemporary society.

Over time, the word has become a stratified writing of language, a sedimentation that opens up to almost map-like forms of memory, incommunicable and to be decrypted.

The works built with different means, suggest, represent and show the peculiarities that define the story and the truth of a person: the sediment left by all the words spoken and heard, the constellation created by all the dialogues, the universe of inputs that everyone has met.

Our words are made of time.

They are matrix, sign and sound, unrepeatable and of unmeasurable dimension.



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© Riproduzione riservata. 

Kronos, 2018, dalla serie Tavolette di Armonia. Plexiglass inciso e illuminato a led, legno. Ognuno 38x24 cm.
Sudario-Sei richieste di aiuto, 2017. Microneon su tela di lino e canapa tessuta a mano, 40x500 cm.
3)	T=S/V (1,2,3,4), 2018. Plexiglass inciso e illuminato a led, legno. Ognuno 64 x 40 cm.
Leukòs, 2015. Installazione audiovisiva ambientale. Video 8 minuti.

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