The artistic invention, in itself a vital act, utilizes amongst other materials, plastic: inert substance, refractory (because of its indestructible nature) in an organic world (not alive), and for that reason not susceptible to metamorphosis. Only in this artistic invention – in some experiences of pop–art and some of the work of Burri – engraving, chiselling and modelling, manages to turn plastic into a metamorphic substance, a symbolic object of allegory. Art is naturally, discovery that seen in other contexts escapes the ordinary laziness of the eye and its blindness. In the case of Isabelle Fordin, aided by a video camera, she discloses a small detail in the River Tiber level with Tiber Island in the centre of Rome, and it fixes the image of a noticeably suggestive performance in a informative sense. In this point in a small basin of water formed by cross currents at the base of a fall agitates a polychrome world made up of only plastic bottles of different colours and sizes.

The talent of Isabelle Fordin consists of following the evolutions, isolating and recording the most significant moments. The bottles move around each other, playfully, bump into each other, separate, and then return, brush against each other in a kind of dance of common motorized destiny, in a dance of reiteration and a circularity that cannot contemplate ways of escape. Dance and scuffle. A boiling over of water, form, of colour and a sound that has an unnerving grace: a performance that is not without a poisoning cheerfulness and comedy. Floating dead objects in which, more than anything else, call life. It seems like a game, that of Fordin, a plaything, but it's serious, very severe, like all the rest is a game.

  • Presentto in Abstracta 2006 Mostra internazionale del cinema astratto, Roma.
  • Selezionato per l'Exposition Internationale du cinéma abstrait, Rome
  • Festival della creatività 2007, Fortezza dal Basso, Firenze.
  • Selezionato per il concorso indetto da FestArte "Spazi interiori e della natura" presso i Rialtosantambogio, Roma.
Allusively, to cataclysmic ventures, if not to what is already come, of an unstoppable consumerist trends and even more unstoppable accumulation of waste, pathology that afflicts our opulent civilization. Isabelle Fordin doesn't insist on allusiveness. She doesn't profess moralistic or catastrophic attitudes. She doesn't want to offer solutions. She only wants to put the spectator before something that could be defined “a unique subject framed in movement” and leave it up to them to decide. Merited, and not in small way, is the artist that follows a very personalized research directed at giving estranged expression to events of humanity and the reality in which they are connected.

Domenico Vuoto