GIUSEPPE TEOFILO
In your search is, as always, the intention tout-court match of the models, objects and themes of tradition, even classical (and the reasons for exclusive and inclusive preserve your roots and cultural anthropology), with a language and updated, however, included in the discussion of art contemporary.
local material and minimal intervention on commodities betray, in fact, it will double (and here one thinks to your installation of the boat-Icarus with wings), forming the basis for a profound reflection on the calls of the Resistance to the code of values of our cultural tradition and setting out, however, at the same time, the danger that this heritage identity, grounded upon a strong foundation of civilization, may enclose the developments and future prospects of your artistic research.
're probably leads to a second phase of language?
I've always tried to work on bifurcations, internal disputes over the form and content. In
drawings, for example, from the beginning of my research, the duality is given by the technique that is the focus of the dialogue between manual and digital drawings, in practice, are signs of ink on paper, nothing more, but in the eyes of the user digital system becomes something to understand and discover.
This duality arises, of course, from my experience, my culture, the tradition of the south and, more generally, the classical culture. The choice of what I mean "I do" is just starting with this idea: the object must be inside this matrix Dynamic / expressive, light to germinate by culture, must somehow be the bearer of ideas and content to the dear old folk culture of the South. This product
primitive as it is reborn later as a contemporary object and its "new" is inserted, although through its contextualization within the artistic debate.
The mixing of two fundamental characteristics always leads to a metaphor, and the exploitation of this action combinatorial processes within the language of poetry, becomes the dynamic of my work.
Your installations could be called the "work dynamic" in that they involve objects so to speak, transgender, or characterized by a double morphology contaminated want in terms of the formal want at a functional level (a boat-spoon-to-wear, the boat-cradle, the cage-balcony, carpets, trampolines, to name a few). It seems to be the most frequently assemblies associative data (materials) borrowed from real life, even if the operation of mining and recombination certainly not the mere act can be considered a realistic-mimetic, but rather the result of a process in which reality conceived and perceived, that represented and simulated waves and help to define your new objective reality.
So, rather than an object Duchamp of de-contextualization, it might be better to speak of mutations metamorphic (manually operated on objects), creating a perceptual estrangement ... ....
First I would talk to some of the works of craftsmanship rather than assembly of metamorphosis: it combines, in practice, one thing to another using the contents of that glue. A boat is, somehow, to get some food and do the same thing as an ordinary spoon. Here then is the form that follows this combination: the basin contains the handle and moves it takes for our survival. In either case the effect is to bring something to the mouth through the eyes. Such mixing, however, is sometimes the case in the construction work, other times in the conception of itself and the resulting formal metamorphosis to give rise - as you suggest - a strange perception. This is the case of carpets / trampolines or balcony / cage: in these works there are two elements in the union, but there is only one form which has two.
The significance of these hybrids - the nature and meaning - it could be, then, the light of a perennial transhumance and / or dissatisfaction as an artist? About
dissatisfaction, this is the basis of everything. I always try to join two edges of my being, to fill my gaps. The use of my visual work discovers and reveals, metaphorically, the wonder and the wonder of my will.
In the video titled Smoking, for example, a minimal gesture and everyday is extracted and isolated. "Smoking kills" is written by law on the packaging of tobacco. My, like many, is, perhaps, a slow suicide that finds its realization in time. ... I'm fascinated by the idea of \u200b\u200bsmoking in the museum - despite being prohibited to do so in a public place - during the exhibition and at the same time to explain this act that, in fact, underlines and amplifies one of my dissatisfaction.
I think of my work, I always think there until his staging, which marks, at the same time, the death of the birth itself and other things "beyond that." The exhibition of works created by my hands over the delegate on duty and the reading of the latter meets my needs. I never decided, I do not know what colors to use, what is the best solution, the best size: it's all a process for maneuvering. I have never in spontaneous labor, while the idea is so instinctive, there is always an intuition of the fund, then, like lightning make this concrete form is another matter. The work finally exceeded its construction, it may not be, no longer exist.
We can say, therefore, that the figure of interpretation of your work is all in this cattlemen and cultural knowledge, in this dichotomy between going and staying, do and think ... ... ... ... ....
You talk of perpetual transhumance and the shift is certainly one of my most intimate concerns. My roots, my culture, my scenario also have a duality of perception. On the one hand there is the desire to escape, go somewhere else, be part of that cosmopolitanism from the pre-occupations which receive stimuli and, secondly, there is a sweet stay in the "fascination" of himself, according firm to fall into the delightful dream.
After all, the artist is - citing Pietroiusti - an eternal ignorant. Among the
works in the exhibition is certainly one which can be considered highly representative in your path: it is a work called the Cage, and I believe more than any other reified, as it were, your dissatisfaction and at the same time your will / move forward ... ....
The work you mention is certainly one which, more than others, communicate this opposition between ideal and reality .... This is a wrought-iron balconies, one of those very common to us, typical of the noble houses of historic centers. Its shape is inspired by the Baroque style of some lodges in the city of Lecce.
My work is its deflection height is expanded through a stretching, which makes it impractical to climb, otherwise easy.
Another change that gives the structure is to make it circular balcony, normally, only one side as opposed to its access and, in this case, it is closed on itself by means of the round. The image is transformed, so, in a cage. A balcony is protection, prevents
all'astante to fall on deaf ears. Probably, in my operation, the balcony becomes overprotective.
The balcony allows you to look over as with the work of art, neither more nor less.
From inside you can see the world that is outside, and in this case is a work that "contains". From the outside, however, the view is reversed: you are no longer actors but spectators.
The sculpture may well relate to the pedestal Manzoni magic but at the same time it becomes somehow antagonist because of its inaccessibility.
However, what interested me most of the sculpture is its symbolic value. A typical artifact of my territory becomes defense and prison. The metaphor is this: the culture of light becomes start and end at the same time. "No birth not rest," wrote Boetti in one of his famous tapestries. The opposition, the duality, the contrast is what, In my opinion, art has to offer.
So the balcony becomes a privileged place, a sort of hedge Leopardi, where to aim boundless spaces beyond that ... ... ..
I was born in a place where the balconies have a certain importance: they protect and look out high on the Adriatic ... The vision of them is sublime, and is certainly one of the best things that our area offers. Pascoe was also, of course, fascinated by this vision: it is born so that 32 square meters of water, approximately.
I look, always, that work from inside my cage. "
0 comments:
Post a Comment