Giangrande: his intervention practices 
Giangrande, practice intervention
Your modus operandi, or better, your practice of intervention on everyday objects in common use (silicone coatings, impacchetamenti, incerottamenti, re-use), understood as neo-pop operation camouflage and / or relocation environment, gives those objects a new identity and a new referential aspect but also a new meaning, loaded the aesthetic, allusive and parodistic inherent in the game of disguise contaminatorio object.
is clear that this material substance, so manipulated, detached from any reference or connection to the real perception of the phenomenal world and also far from a mere representation realistic and / or camouflage of objective fact, becomes the excuse for you to build a canal in relation to alternative interpretations protocol common knowledge, and perhaps longer, beyond the new game variants (post)-pop, to probe the true nature of things.
What, then, intentionality and poetic sign of this "new objectivity"?
"my" objects are the result of a confrontation between several factors: coverage of patches, for example, meets a toy and immediately generate a new character who relies on the "history" of the "contents" of "symbols", the "references" that its individual components offer.
The same result, much amplified, occurs in the so-called site-specific installations, another hallmark of my research next to the "improbable objects" in this work, the enormous presence and a multitude of the same object, and cloned repeated countless times generates an image other (egg-planisphere, wooden boxes for fruit-wall of tears, ice cream cones-towers of Babel, crates of beer-maze).
In these cases, the layering concept is immediate and consequential. Which is why more often
interpretations come into play in my work and / or assemblies, and new and improbable reality arise from more reality, more experienced, more emotions.
All this is reinforced in the most recent phase of my research, especially in the work that I am going to present to the museum Pino Pascali: no longer works on the surface of objects, but interventions dry, clean, minimal, through "mergers-assembly-manipulation" of objects themselves.
I go, so, to create - for example - messages using candles in the shape of letters, which make up the word "TEMPORARY ART", on the combinations ana-logical thinking (and visual) material between a "precarious and fleeting as the wax and the concept, transient, an art, temporary, linked to its nature at present, or even paint by hand on an original matryoshka, the effigy serial Berlusconi and use a doormat bearing the words WELCOME - takes on the colors of our flag ambitious challenge for those who have the courage to tread - which object-symbol of a nation "open to everyone and everything, but not always adequate to support and sustain ... ...
Each work is a carrier of a message and / or meaning that is gradually enriched by the experience of spectator who watches it.
Then you could say that poetry does not follow a defined, but is a game that your aesthetic and manipulative, which produces "works open "....
is true that poetry does not follow a defined, but each operation is an excuse to have my say about what surrounds me, to criticize, understand, think and express my point of view in a dry, elegant, refined, original, valuable and sought after.
As I introduce myself in clothing or appear in life everyday, I also express a kind of art neodandismo.
Let's say your clothes, or better, your set, are bearer of a visual code and high-value fetish glam, but also a choice of language, researched and tainted, like the manipulative operations on your objects and then more than neodandismo would be more of just talking about pop-dandyism, understood as an aspiration play - in a mass culture - figure to be aesthetic (and cognitive) of everyday life ... ... ...
In a sense, even my clothes are a pretext for get in touch with the reality that surrounds me, to be able to understand and communicate, casting an ironic aesthetic look ... ... .. Looking
your installations is reflected in the fact that are not just ready-made or the result of relocation is the camouflage in which the memory trace or morphology of the original objects.
works, such as the hammer with the inscription INRI, chopsticks with spring, the mat-flag, the circle of ties or a nest made of hair artist - to name a few among those exposed - are, of course, the result of assembly of artifacts but also reconsidered the material witness interpretation of a short circuit.
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objects accompany us from the earliest moments of our lives, bring us back memories, feelings and emotions away, evoking concepts become symbols are used to see them, touch them, use them and forget them. Born live and die like us ... with us.
But what if, then mix them, consolidate, merge, assemble or modify?
The choice of objects is done through a careful analysis of their original function but also on the basis of everything that they can evoke either alone, or "combined" with each other.
So, we exploited their full potential and all the countless combinations considered, bearing in mind the ultimate goal which is the message / work. In my work
1 +1 equals 3, where 1, for example, is the hammer and the other drive is the plate bearing the inscription INRI, the joining of the two units gives thus rise to 3, or l ' work of art, and third new object.
Thus, a "circle" of objects-tie vintage becomes a mandala for peace, while common for masons brushes, which come out real long hair and sensual, elegant brushes are to the Chinese used for writing ... .... Then
for the viewer everything can become 4,5,6,7, depending on the emotions and personal experiences of each and everyone of subsequent assignments assigns to each object.
In other words, a hammer (along with one that evokes) is the sum of many hammers, how many people watch him. The same goes for all other elements and, therefore, the result conceptual - and interpretation - is almost, Pirandello, infinite.
Among the works on display there is certainly one that can be considered highly representative in your path: it is the installation work entitled Vitruvian Man, a work pure and simple, that ties together drawing and writing, number and size, the ironic quotation of human Leonardo el ' deliberate allusion to the character of publicity of Lagostina pressure cookers. A successful merger, in short, of high culture and popular culture to register ... ....
This work is directly inspired by the famous protagonist of a cartoon character created by Osvaldo Cavandoli, called La Linea. The cartoon, for those who do not remember,
is made up of a man who runs a virtual line infinite, which is also an integral part. The character encounters many obstacles in his path, and often turns to the designer - in a Lombard-grammelot Monza - to achieve it, drawing it, the solution to their problems. In my work, "the line" consists of a tape measure that unfolds and is shaped around a series of nails that, in turn, draw on the wall drawing of what I represent.
I go, then, to "measure and measure" with profiles, silhouettes, silhouettes, instantly recognizable icons of our time and / or belonging to the history and being, well, part of our collective heritage of images. For the current setup I have chosen to represent the famous "Vitruvian Man" Leonardo Da Vinci, the emblem of proportion and measure, harmony, order and rationality. This is one of the most popular designs in the world, it is printed on posters, maybe seen through pop, and recorded on the 1 euro coin: a real
own icon that has stood nonchalantly to more than 500 years.
My job, as Leonardo's drawing, meant to represent the centrality of man who is considered at the same time, architects of their own destiny and measure of all things.
Leonardo created in 1490, driven by a step of the third book De Architectura by Vitruvius on the human proportions. The man the work of Leonardo, conducted in accordance with Vitruvius, is "stuck" in fact, perfectly in a circle that tangentially touches the tip of the hands and feet. Second key geometric figure in Leonardo's drawing is, then, the square, whose center is located on human pubis and the diameter of the circle.
And it is from the pubis, which will place the tape measure, which will start the line from which you generate the figure, the image.
This work is very evident desire to minimize the action, the operation of the artist, leaving room for the purity of the image and the essentiality of gesture that keeps the expressive power of his art: a minimal gesture, painting, using only a tape measure as if it were a single brushstroke, which brings us back to the purest mannerist figuration.
Apart from the adoption of a parterre of view, the creation of a répertoire des drôleries and the definition of a linguistic-expressive affected by the fascination, allusive and conscious action, sensitivity, artistic and cultural moments, and several cross-cutting , from where it draws its sources (materials) inspired by your research?
My research draws on material, properly, by a vast universe of objects, a world of markets, hypermarkets, workshops, basements and warehouses and mixed with my childhood memories of a time when I built my own toys to have more of them ... ..
