1981, Offida (AP)
“The snow melts in the sun, the water returns to the sea” Fabrizio De Andrè, L’infanzia di Maria, 1970
The work is the last act of an experience I had four years ago in Liguria. The winter of 2012 was very harsh, and when the temperature dropped well below zero, the pipes froze, making it impossible to use water for several days, during which the absence of water conditioned my very existence, and everything revolved around this deprivation. One day I le the house and brought back a block of ice and a stone: in the studio I filmed the decay of the ice which I had placed beside the rock, and I kept the water, decanting it into a bottle. The work by Filippo Lippi L’Annunciazione Martelli, 1440, took me back to that episode today. The transparent container, placed in an ambiguous close-up between the Angel and the Virgin, both container and memory of the conception, is the symbol which allowed for the connection with the water that I kept for years: the message of the Annunciation is stored in the ice which, on melting, becomes the medium of good news by nourishing the rock, giving it life. Like in the alchemical process Solve et Coagula (dissolve and solidify) in which condensation and dissolution alternate, giving rise to changing forms, in Annunciazione this continuum of matter-energy is water, which continually changes state. The meditative dimension transcends until we ourselves become a participatory part of the dissolution and solidification process.
Reverb originates from an auditory hallucination that I had as a child: in that limbo between sleeping and being awake, I heard a suspended and endless melody, almost as a recall that on one side attracted me and on the other frightened me. I’ve never forgotten this echo.
The feelings arisen from this piece of memory have found their realization in the union of three elements: the body, the drum and the marbles.
Through the circular movement of the marbles, the white surface of the drum becomes an abstract space, however the object doesn’t lose its properties of musical instrument: it is the strength of silence that allows the existence of sound. A circular structure in which the energetic flow is emanated following the concentric trend. A hypnotic movement in which anything revolving around comes from nowhere and, sooner or later, will go back to nowhere.
Link to the video: https://vimeo.com/125075955
SPACE MATTERS (2016)
The project explores the field of perception within sculpture, the representation of sculpture manipulated by photography.
The highlighted elements are cut outs from pictures I took of sculptures while I was attending the Academy of Fine Arts in Carrara, between 1999 and 2005, when I attentively experimented classical sculptural materials.
During that period, my photocamera has been a major instrument for my sculpting. I used it as a drawing book enabling me to both document my work and gain a deeper knowledge of volumes and forms. I would frequently modify sculptures after viewing the printouts.
Now that time has gone by, sculpture is once again changing its form through photography. As in an alchemical process, photo prints are reviewed, re-examined, cut out and reduced to their essence: the aim is not to regret the past, but to live it with today’s eyes, which can reconcile with the cruelty of time, dissect and select what is “worth to be kept”.
Such “photomemories” are isolated against a neutral background, which simultaneously fills and creates a gap. A dialogue between form and emptiness, a room for imagination.
The installation is a form, which develops gradually: like a maternal womb.