A+B Gallery is glad to host Viola Relle’s (Budapest, 1992) solo show, La scultura che vorrei diventare. In her first solo exhibition at A+B Gallery in Brescia, Viola Relle is showing ceramics and works on paper whose contrasting characters create a morphosis that invites you to immerse yourself in a world of possibilities and forms. Like thoughts becoming tangible in space, Viola Relle’s sculptures emerge from the dialogue between material and transformation. Their surfaces bear traces of fire and water, of heat and cooling—of the elemental forces that shape them. Some appear as carefully assembled structures, others conceal their fragmentation beneath a seamless exterior. They shift between architectural presence and organic form, between construction and dissolution, never settling into a singular identity.

Relle’s watercolors mirror this approach: they are not mere depictions of her sculptures but their echoes in paper and pigment. Built from individual segments, they reflect the same interplay of fragmentation and cohesion, holding within them the possibility of reconfiguration. In this fluid state, they extend the sculptural into the pictorial, tracing the shifting contours of form and space.

The works in La scultura che vorrei diventare explore sculpture not as a fixed object but as something in flux, something becoming. They recall ancient vessels, skeletal remains, landscapes shaped by time. Some enclose water, others open into hollow spaces, where absence is as present as substance. Interior and exterior dissolve into one another, suggesting a permeability that resists clear distinction.

The sculpture is not a static entity—it is a presence, a movement, a threshold between states– just like a person. Viola Relle, who studied at the Academy of Fine Arts in Munich with Nicole Wermers and Kerstin Brätsch, employs techniques that require both mastery and intuition. Her Raku-fired works in particular embrace the unpredictability of the process: fire leaves its mark, rapid cooling creates fissures, the material responds in ways that cannot be entirely controlled. Rather than imposing form, Relle guides it into being, she becomes midwife, attuned to the rhythm of emergence.

Her works hold a deep understanding of material, time, and transformation. They do not impose meaning but invite it, offering themselves as vessels for thought, touch, and the quiet tension of becoming.