Nella tua ricerca è presente, da sempre, the intention to combine toto models, objects and themes of tradition, even classical (and the reasons for exclusive and inclusive to preserve your roots and cultural anthropology), with a language and updated, however, included in the contemporary art debate .
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 the 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 viewer the 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, culture Classic. 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 dear to the 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 poetic language, it becomes the dynamics of my job.
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 functionally (the boat spoon-à-porter, the cradle-boat, the cage-balcony, carpets, trampolines, to name a few). This is most often assemblies associative data (materials) borrowed from real life, even if the operation of mining and recombination can be considered not a mere act realistically mimetic, but rather the result of a process in which the actually conceived and perceived, that stirs represented and simulated and help to define your new objective reality. So, rather than an object Duchamp of de-contextualization, it might be better to speak of metamorphic changes (made by you on the objects), creating a perceptual estrangement.
The significance of these hybrids - the nature and meaning - is perhaps the light of a perennial transhumance and / or dissatisfaction as an artist?
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 in some way, to obtain the food and does the same thing 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.
regard, then, 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 amazement 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, may not be, no longer exist.
You talk of perpetual transhumance and movement 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. Find
, including those set up, a work that you consider highly representative and explain what has value in your path installed?
The work on show that, more than any other, is my disappointment and my desire to move is, without doubt, Cage.
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 move: a 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,
all'astante prevent falling into the void. 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 that the world 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.
I was born in a place where the balconies have a certain importance: they protect and look out high on the Adriatic ... The vision they are 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.
always look that work inside of my "cage".
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