Nina Bernagozzi


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 “The kitchen, this space of between-us, ”

The four seasons merchant is a containing investigation, a culinary and plastic reflection that revolves around a feeling of nostalgia guided by the seasons,
striving to transcribe these variations that inhabit us. Taking a new form at each opportunity.


 Ostrea/Ostreon - Febuary 2020 - Winter 

"Between men there is an island, I want to go to this island. »

Ostreon, the Greek root of the oyster, gave birth to the concept of ostracism.
During antiquity, Ecclesia used the flat part of the oyster as a ballot to exclude a member of his community who was considered too powerful,
thus presenting a danger to democracy, for a banishment of ten years.
Counterintuitive Ostrea, the Latin root of the oyster, contains in herself this indisputably erotic fruit
and feminine which Casanova used as an object of seduction, foreplay.

It closes a slow and long period of vacillations in which I remained enclosed in a shell.

Ostreon/Ostrea, A crossing back - October 2020 - Contemplation  

Perhaps helped by the vision of the madmen who can animate us on certain days when the sky threatens and the eyes
refuse to open beyond the half-closed, these days when the gaze of the ostracized turns out to be more limpid and lucid
than anyone else, because they have already made that side step which allows them to observe the world with withdrawal.
The Ostrea-Ostreon dinner that took place last February before a mowing
pandemic that forced us into confinement, driving us into withdrawal and distancing.
With the smells of dawning spring muffled, the damp grass cutted under the knees, the four seasons merchant had to put
her anticipated plans on hold, like everyone else, go with the flow.
Then came Ostreon-Ostrea, A crossing back, through which the four seasons merchant extends in
a new intimate dialogue, with her mirror-companion, the Oyster, the reflection of a new relationship to solitude,
welcoming a new season: A season that filters.

In a languid but obstinate breathing, potential for ample reveries, that only discreet and hidden interiors can invent,
like the mother-of-pearl hidden by the limestone harshness of the silhouette of her shells, this crossing back dabble
to operate a dialectic of the imagination, deploying a truth of the depths.
To welcome, per se, another vitality, a new season: contemplation.

Ostreon-Ostrea, A crossing back is constructed as a negative of Ostrea-Ostreon, in that sense that the four seasons merchant
reverses her role with that of her tasters: in the past, she was ostracizing while they congregated together to form community,
here, she belongs herself in the center and plunges them into a solitary condition.

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© Nina Bernagozzi-2019 / Cannot be used without permission.