PATRIZIA MEDAIL
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Dada Rosso
  From the Stampa di Torino 07.06.02
 


Perhaps it’s because creating an atmosphere was part and parcel of the long-standing family business (as owners of the brandy, Vecchia Romagna Buton, and the legendary Etichetta Nera label). Whatever the case, Patrizia Medail’s sculpture-paintings really do emanate a very special atmosphere, enchanting and transporting us to a land of fantasy and dreams. It started with her own life. Brought up to be a bourgeois Italian signora, in reality, her determined and competitive personality was immediately to the fore, when, as a young girl, she started accumulating an impressive array of skiing trophies (at eighteen she was an Olympic competitor), and riding the horses of the family stable. There was nothing, however, to indicate future success in the artistic field. The idea came later, at the time when she took control of the destiny of the family company, which had been divided up among numerous cousins, and which she had decided to sell to an English group, something she succeeded in doing (the determination of the born sportswoman never fails to win out). In that period, to reduce her stress levels, Patrizia started to “fiddle around” with some old braids and antique damasks found in the attic. So it was that her first collages were realised—fabric copies of the family paintings. When the household supply of fringes, velvets and laces eventually ran out, the urge to create remained, the early results having met with such widespread admiration. In brief, today, Patrizia is considered one of Italy’s most gifted artists, courted by galleries throughout the world; her animals in silk and cotton fringes, part totems, part toys have an hypnotic, ironic and dreamlike charm, and are absolutely unforgettable.


PHILIPPE DAVERIO: ON PATRIZIA MEDAIL

Rossana Bossaglia
  Il Corriere della Sera, 25 January 1998

Melissa Hoyer
  The Sunday Telegraph, 4 September 2000

Bona Frescobaldi
  Il Corriere della Sera, 2 March 1998

Maurizio Gennari
  Il Resto del Carlino, 22 March 2000

Antonella Ferraro
  Corriere Adriatico, 7 April 2000

Vittoria Coen, art critic
  Corriere Adriatico, 7 April 2000