an intervention on a centuries-old oak trunk that died of a natural disaster and that the artist wanted to give new life and preserve near the place where the tree lived. The sculpture looks like a large cavity that can welcome the spectators, protect them inside and transmit to them a primeval strength, that of Mother Nature.The work was born from the collaboration with the staff of the Medici Park of Pratolino-Villa Demidoff and the Metropolitan City of Florence.
Grembo is a work where the hand of Nature and that of Elisa Zadi meet and intertwine to become one, a harmoniously accomplished entity. A large wooden body that has been made to smooth by the artist's hands, as time would have done, the first natural modeler / sculptor, which always gives new and different form to all things; hands that have gone further, following nature and being absorbed by it in return; hands that have even more focused their actions and their poetics on the identification exchange with nature, understood as a living, tangible material, to be touched with force, to be furrowed with an essential and decisive design, to be brought back to the beginnings and generated as a work of 'art. A completely hollow trunk which only in appearance is motionless and lifeless, but which finds food, unlike when it was a whole tree, directly inside; in fact, the light no longer comes only from the outside, but from the gold which is the new skin inside. A tree trunk that is no longer alive due to natural causes but which wants to continue to exist as a presence in the place where it lived and which also exists, continues to be, and which through Elisa's gesture rises to new life, to eternal life of Art.
Nature, the forest invented the component, donating the raw material; the Artist has smoothed its surface, inside and out, to the final shape. A work that has prepared the form to accommodate gold, which has always been an element that refers to a higher reality, to something sacred, timeless, distant, unattainable, to be contemplated in its magnificence. Gold, symbolically immaterial material, a bridge between earth and sky, is not an earthly pigment, but a leaf of a goldbeater, where the invisible is revealed through its visibility; a leaf that is pure light, and light is the first nourishment of the world, the essence to which all Nature reaches out. One leaf, one after the other, simple and very precious, and the leaves are also the thought of the trees. Gold, this sheet stretched out with maternal care, penetrates and invades the trunk, covering its void; the inside is the space of gold and soul, of memory and abandonment. A place, a middle ground, from where an ultramarine blue line runs, between the cracks in the wood that flows out of it like a river in flood, which flows into a design of a labyrinth of the same color, a labyrinth made of water and heaven, to celebrate the heavenly baptism of those who have the courage to get lost in order to find themselves. The synthesis of the design of the labyrinth that follows the started symbology is the same as in Chartres. [From now on, from this Womb Infinity will pass, a new dimension having opened up which is that of space.] A work where the earth meets the sky, a womb where all the breath of the sky will pass in the wind that will blow ; a Womb where you feel all the sacredness of Nature pulsate, where it is possible to find, beyond the visible appearances, the deep secret of the spirit. Womb is the guardian of a mystery which, instead of becoming flesh and blood, becomes spirit and symbol, word and emptiness, breath and gaze; this is the hollow, the nest, the cradle where things begin, where everything is possible even before coming into the world; where things rejoice at the encounter with the light that illuminates, and tremble / groan / pant at the fear of the glare that obscures / blinds. Light contributes to the birth of the work: through it, the Infinite moves like a continuous flow, like a current that carries us from one world to another. In the womb of the tree lies the omnipotence of Nature, as in the womb of a mother lies the beauty of her creatures. The Womb is the home, it is the embrace, it is the placenta that surrounds / contains a fluid that is as large as an ocean (of thoughts). Anyone who wishes can enter the Womb, cross the threshold of another dimension, immersing themselves in this liquid and suspended light, to feel like a being, a protected and free creature, listening to the memory of prenatal time, walking as if to return to the womb of the mother. Sitting down, entering, settling into the cavity will be like returning to that golden space, into that amniotic sea, witness of our development, of our tender and violent encounter with life. That trunk not simply empty, but which contains a void that is preparing to welcome the Infinite, will also contain us, waiting to participate in the passage of the Infinite. There, in the center of the Womb, the rite of passage will take place, the Infinite that flows continuously like a stream, also passing through us who are immersed in that space, imbued with living light, which contracts and expands, in a primal contact that welcomes anyone who wants to enter the cavity as if to return to an initial, initiatory and primitive condition of being, of one's being. Not to see, but to inhabit this space, to live it again this time aware of being in a place that symbolically recalls the sacred place where life begins. Where, here and now, our rebirth begins.