LA VIE MODE D'EMPLOI
bread, projector, pigeons, acrylic glass, book, 3 min video,
Cubes of bread cut out from loaves were put on the grid of squares that can be found in the paving at the Palazzo di Duomo, Milan. The pigeons consumed the bread and flew away. The video of the process of consumption was projected through the 25 x 25 panel made of the crusts and reflected on the floor. I like to think that the empty spaces are the work. It was inspired by the French writer Georges Perec, and employs the idea of a 3 dimensional Latin square.
IT IS POSSIBLE TO BE A REVOLUTIONARY AND STILL LIKE FLOWERS
flowering branch, GoPro, projector, 2 mirrors, stencil, 4 books
I think Technology has the ability to create a space where the act of being can be observed. The work engages this idea - the technology 'observes' the subject and object of the work (nature and man) and projects the image into an alternate space. The title of the work was inspired by the project 'Is it possible to be a revolutionary and like flowers? by Camille Henrot in which she critiques anthropology via assigning highly poetic and conceptual meanings to ikebana pieces.
I AM A STRANGE LOOP
pigments, thermoplastic polymers, enamel, acrylic glass, GoPro, projector.
The artist has executed the installation “I am a strange loop ” composed of panels of transparent plexiglass suspended in mid-air, panels on which painting interventions have been realized. The work is conceived according to the principle of reversal and the mirror image, thus bringing into play the principles of its objectivity and the traditional interaction of the observer. The installation in fact, achieves a duplication between the sum of the actions carried out on the individual panels and their projection onto a wall away from their location. Through the movement of space, the observer is bound to a vision of the reverse side of the work being able to see the other side only in its projection which of course is characterized by the specific nature of technical means. The projection is a continuous stream that exceeds the ‘instantness’ of the photo or the completeness of video restoring the image continuously into the flow of life. The artist whose career has moved for many years within the relation existing between mechanical mediums and creative identity, has accomplished an experimental reflection on the dimension of spacetime in the image, thus expanding the rigid confines of it.
Critical Text: Ida Terracino