Igreja Santa Teresinha 

Editor: Here we have a look upwards at the ceiling of Igreja Santa Teresinha, a fresco mural. The artist is Aldo Locatelli. It's stunning but a bit overwhelming with all that's going on. What stands out to you about this piece? Curator: For me, the dominant theme is the labor inherent in the creation of such a monumental work. Think about the process. Locatelli didn't just dream this up; he built it, layer upon layer. Editor: That’s an interesting take! I was focused on the religious aspect. Curator: Well, look closer. It's not just about iconography, it's about materiality. The fresco technique itself, the application of pigment to wet plaster. This isn’t just painting, it's construction. How do the specific properties of fresco affect the kinds of imagery and compositions possible? Editor: So, the fresco medium dictates some of the aesthetic? That makes me think about the architecture, too. This artwork is fused to the church. It needs this architectural support to exist. Curator: Exactly! And beyond that, the church's patronage directly influences the artist's labor and the imagery displayed. Whose resources paid for the materials, scaffolding, and artist's time? Consider the social relationships involved in such a large undertaking. Editor: So, we're looking at art as the product of collaborative labour, not just individual genius? Curator: Precisely! Seeing art as work challenges conventional notions of artistic authorship. Editor: I guess I usually focus on the 'what' and 'who' of art, not the 'how.' That’s a useful shift in perspective. Curator: And that “how” opens up so many questions about production, economy and collaboration! I'm glad we could illuminate those material concerns.