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Pad. 21 - Stand C60

IKÒNA DESIGN by Berto Srl

IKÒNA DESIGN by Berto Srl
Via Guglielmo Marconi 20/3
35010 Villanova di Camposampiero - PD
Tel. +39 340 2195767
ngised.anoki@ofni
www.ikona.design

MATTEO PAULETTO DESIGNER
Matteo Pauletto was born in 1990, in Camposampiero and lives in Castelfranco Veneto where he currently works. After the technical institute for surveyors, his training course continued at IUAV Faculty of Architecture in Venice. The first professional experiences in architecture and interior studios, contributed to his varied and thick background. From 2014 to today he has been able to deal with important projects, studios and companies in the sector starting from the concept, through project management activities, up to the realization of the architectural product or design building. Always passionate about freehand drawing, art and nature, in his free time he cultivates these passions, that filtered with balance and reinterpreted with personality are often ideas and source of inspiration for new forms of expression free from any stylistic constraint.

ALBERTO GASTALDELLO ARTISAN
Born in Mirano in the Province of Venice in 1967, after his studies and the military service, he worked for 4 years in a paint factory in Mestre specialized in the supply of materials and paints for carbodies. He began his career as an construction entrepreneur artisan in 1990 at the age of 23, specializing in prestigious restorations and building constructions. In 2017, the passion for craftsmanship, for his land and for popular traditions characterized by the experience of ancient peasant families, gave rise to Alberto's need to get back into the game, to give shape to a desire, and to open a new chapter of his life: Berto Design. Since 2017, the continuous research linked to the experimentation of new materials has led to various collaborations with the sector studies and new ideas were born for the design world.

PHILOSOPHY

"Art no longer has to submit to the limitations of the canvas or the material, we want the picture to come out of its frame and the sculpture from its glass bell, expanding through new forms and expressive techniques." Quote of Lucio Fontana, spatialist movement.

These principles are joined by the vision of contemporary design: minimalism and the use of natural materials combined with new forms without ornaments, the aim is to apply these guidelines through experimentation always linked to the uniqueness of the materials themselves, investigating the material itself that composes them. The field of sacred art design is very stimulating because it gives the possibility of dealing with a profound, unique and, if we want. partly abstract theme. There is no real client, and free interpretation is left to the observer since it is the object itself that must evoke and refer to something greater. This is why the materials at the base of our works already tell a story of departure, even before the human intervention of the designer and the craftsman enhances them. I am referring to the uniqueness of a surface due to the traumas suffered by the material, how atmospheric agents can generate a new texture, a trunk broken by the wind that generates a new shape like a metal twisted by a bump or corroded by time, or the cracks of an element they create their uniqueness without intending to fragment. An act that takes place in nature, traditionally considered impulsive and brutal, can be reworked and can also be transformed into a meditated and planned intervention with the rationality that must distinguish the artist in creating new works, combined with the extreme precision and formal cleanliness of the result: a rhythmic succession of

introflexionic extroflexions expand on the surface. The instinctiveness of the gesture that is imprinted on the surface wants to probe the expressive potential of the material which in its change creates uniqueness, be it an organic matter, such as wood, as an indestructible material, made stainless by industry, like metal, capable of perpetuating the intangible memory of the sign imprinted on it. The designer thus becomes a researcher of particularities, of the becoming that manifests itself and studies the way to enhance them to start a process that will lead to the fulfillment of his creation through a form and a function that is then realized with the manual skill of the craftsman. The cognitive process of beginning and end is interrupted, but the starting point is already determined by the uniqueness of an event that has imprinted a trace in that material and therefore the story of a lived story that is no longer just recovery and reuse, but also memory.

LINES

VAIA: Where the storm brought destruction and death, faith gives new life and hope from the remaining fragments.

“Teacher, do you not care that we are perishing?” And he awoke and rebuked the wind and said to the sea, “Peace! Be still!” And the wind ceased(..) He said to them, “Why are you so afraid? Have you still no faith?” M. c 4,35-41

NOAH: From a wreck lost in the sea, corroded by the waves in its interminable floating wanderings, one day it came ashore, harvested and had a second life.

"Look! I am about to cover the earth with a flood that will destroy every living thing that breathes. Everything on earth will die. But I will confirm my covenant with you." Genesys 6, 17-22

LUMEN: As the light of a beacon in the darkness shows the way, so may the light illumina-te a fragment and from that rest shine the hope in faith.

"Neither do people light a lamp and put it under a bowl. Instead they put it on its stand, and it gives light to everyone in the house. In the same way, let your light shine before others, that they may see your good deeds and glorify your Father in heaven." Matthew 5,15-16, CEI