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Naturally ephemeral, fire has no shape, weight or density while being visually tangible. These multiple characteristics have always fascinated artists who have ventured over time both in its representation and in its use as an active presence in the work of art
The element of fire brings with it a long series of meanings that perfectly embody the conception of nature as mother and stepmother at the same time for its generating and destructive effects.
The representations of fire as a devourer belong to the latter trend; examples of this are the numerous paintings depicting the fire of Rome in 64 AD, in which the artists portray the image of the capital covered in flames.
Belonging to the vein that sees nature as a generous mother, there are the representations of fire as an element tamed by human beings and adapted to their daily needs. In fact, between the Renaissance and the Baroque, fire appears in the many representations.
In Christian times fire becomes a sign of purification, it takes on theological, ecclesial and liturgical meaning, used as a sign of martyrdom and visions of saints. In its primitive conception, it is represented as an essential source of light and heat.
On the other hand, Surrealists like Magritte (Le Paysage en feu, 1928) look to its aura of mystery. The avant-gardes of the post-war period refer to the use of fire as a means of artistic creation, differing in the specific ways of using the element.
As a combustion tool it is used in the works of Alberto Burri, who subjects various materials such as wood and plastic to the transforming power of fire. Equally used in view of its impact on matter is also in the works of contemporary sculptors such as Nunzio.
The artists of Arte Povera were certainly attracted to fire, such as Jannis Kounellis who in 1967 inserted a blowtorch lit with effects of light, heat and noise in the work Margherita di fuoco. Fire also becomes the protagonist of performances, such as with Marina Abramović.
