This is one of a suite of eleven images and twelve pages of text from the portfolio entitled Footsteps on Mulberry Tree Tops. The portfolio was produced in an edition of twenty-one plus four artist’s proofs. Tate’s copy is the twentieth in the edition, the first half of which was published in book form, the second as loose leaves in a box. The images were printed from plates made in the artist’s studio in San Raffaele, Turin by the publisher Jacob Samuel in Santa Monica, California. They were all made using the chin collé technique and a combination of softground etching, spitbite, hardground etching, whiteground aquatint and drypoint.
Penone grew up in an Italian farming community and now lives and works in Turin. He
is a leading member of the Arte Povera group. His art is based on the relationship between man and nature. Footsteps on Mulberry Tree Tops depicts subjects that have been central in his oeuvre over a thirty-year period. The portfolio is introduced by lines of text written by the artist in 1999 in which he describes the process of etching as a kind of mirroring. His poetic image invokes a masculine burin which both creates and transforms into a feminine furrow or slit, ultimately relating the art of etching to Plato’s androgyne, ‘a round figure with four hands, two sets of sexual organs, two faces’. The following text pages, which are interleaved with the prints, are sections of writings dating between 1983 and 1999, some taking the form of prose, others verse. They elucidate the visual connections between the growth of plants and trees, with particular reference to the mulberry tree, and the human body. These connections are made in the earlier drawing Bifurcation (Set 1) 1986 (T05840), which emphasises the visual similarities between the bifurcations of branches from trunks and limbs from human bodies. With Footsteps on Mulberry Tree Tops Penone appears to refer, additionally, to the cultivation of mulberry trees, in southern Italy, which in years past sustained the production of silk.
The image on this print and those on the following three (Tate P78576-8) were made using the unusual technique of white ground aquatint, composed of linseed oil, titanium pigment and soap powder, mixed into a paste with water. This process allows subtle gradations of tone with only one dip in acid, as the paste is applied in a varying consistency to allow some areas to bite more quickly than others. The suite of four images draws parallels between the structure of a mulberry leaf and that of a human brain using a strongly contrasting texture of dark patches traversed by watery rivulets contained within outlines that refer to the two organic forms. The texture on this print, P78755, lies within the contours of a brain which trails downwards into the suggestion of a spinal column. The following two images, P78756 and P78757, are based on drawings Penone made of a skull fragment. They recall the form of an earlier work, Paesaggio del Cervello (Brain Landscape) 1990, which makes visible similarities between the texture of brain tissue and marble. A more watery version of this texture is enclosed within the outline of a clearly defined mulberry leaf on P78758.
The text preceding this print describes the perceptual processes that the viewer must bring to art which differentiate it from scientific ‘atomic’ reality (uniting the senses with concept in the brain):
A work of art is based upon the sense and upon the logic
that derives from them.
It is a language based on what we perceive
and, according to modern science, it is very different from reality.
The atomic reality of things, of an object, of a painting,
of a sculpture, of a sheet of paper, is a space
in which spin systems of atoms that have little in common
with the appearance of what we see and touch.
Reality is invisible and intangible. This is a great liberation.
Catherine de Zegher, Guiseppe Penone: The Imprint of Drawing, exhibition catalogue, Drawing Center, New York and Milton Keynes Gallery, 2004
Giuseppe Penone: Paesaggi del Cervello, exhibition catalogue, Ex Chiesa della Maddalena, Turin 2003