Laura Pellizzari’s work is expressed in the creation of glazed terracotta objects and Accumulations, starting from the analytical study of the subject and the research for new combinatorial formulas that allow multi-level readings. The Accumulations of shoes and common items (bottles, for example, but also miniature hulls) seduce the moment of vision, the charms dictated by the purity of the shapes, the symbolic power of the subjects and the gloss of enamels; thus leading to new outcomes and confrontation with unexpected situations. You feel even a bit embarrassed to wonder whether below that glossy layer of clay … by chance these are really women’s shoes, perhaps telling their story of “objets trouvés”. The same happens to the Accumulations of hulls, or to the fortuitous encounters between a shoe and a bottle, which in the gratifying moment of the vision also fully restores the sense of the fragment, everyday life, casuality and non-linearity of the culture in which we live. From the point of view of the message, Pellizzari’s work is a conceptual and profoundly modern commitment, able to offer a point of view, an acute glimpse into the contemporary world translated into the simple and direct language of the consumer. Each object, at the time of the creation of the work, loses its original meaning by assuming a new garment, becoming “other than itself”, part of an imaginary symbol and embracing new meanings. At this point the choice of certain subjects-objects and their combination becomes a sort of poetic writing, a musical score based on harmonic or disarmonic accords that can offer aesthetic resonance. Our society and all the culture of the twentieth century are based on a non linear line so that things – as Jean Baudrillard affirms lose their meaning effortlessly, to slip easily into areas other than those of origin. What distinguishes our world is precisely the fragment culture, the use of quick messages and the mix of languages ??that produce hybridization and trigger new symbologies. The fragment, objet trouvè, becomes the symbol of today’s world: “what remains” as a witness to a process that is constantly evolving and constantly evolving. The collection then becomes for the artist a way to read the story and keep it through its fragments and shards of life, to bear witness and to deliver it to future destiny (or judgment). It is always the artist to determine the tones of this language: for example, Arman and Cesar make accumulations that often have a dramatic and destructive charge, Erin Wurm uses coats, dresses and shirts to show that clothes often are capable of replacing ‘ individual. The Pellizzari collections have instead the gift of irony, which stems from the artist’s ability to look at the world with some detachment without falling victim to excessive pessimism. The choice to represent women’s shoes can be attributed to the willingness to offer a symbolic form of a possible representation of the female universe, in a modern sense, precisely what is suggested by the “high heel shoe”. I think that in each of Pellizzari’s works there is a spiritual or philosophical matrix in his being so linked to symbolic expression, as are the totems that he realizes with raku technique: life is expressed in its most archaic and primordial symbol , the body of a mother goddess, while death appears in the element of the skull. Repetition of both of these modules in a vertical structure allows the creation of a totem and a collection together. Here is the possible meaning of his shoes, which become a modern symbol of a fruitful vitality multiplied and blocked in the volume of form. I believe that through this operation the artist reveals something deeply intimate and personal, expressing, through a direct communication, his desire for openness and introspection together. Laura Pellizzari shows an end intuition thanks to which she is able to elaborate a new expressive symbolism. Dreams, values, and utopias embody the fragments of everyday life, from which only the artist can distil themselves from the essence of poetry.