Residency Project / Glasgow Sculpture Studio, Glasgow, Scotland

VAGUE ESSENCE

2018

The work carried out during the residency is the result of a reflection around the consumption of products and all the forces that exist around it. Before consumption there is the production of the products and after consumption the waste. In this cycle, the human is at the center, to satisfy every kind of need and ultra need, expanding more and more the offer of products for every – superfluous – necessity. But it is in this multiplicity of offer that parallel grows a silent world made of that discarded matter, abandoned and that it blends with nature and the urban landscape and creates a personal world of representation. In this wandering the matter lives a life and moving, it collects other matter, it changes, it stops, it consumes, it burns.

Man has make all this and becomes a victim of its consumption and consumerism, think for example about intolerances or to the products reduced in sugar: we create these after the disproportionate consumption. Conformism, habit, convenience tend us to conform to the current customs and that by following the rules we end up to see this something immutable, as if instead of being a human creation they were dictated by nature, but it is not nature, it is just our construction.

“L’uomo è un animale sospeso tra ragnatele di significato che egli stesso ha tessuto.”
Max Weber

“So how can define this matter-movement, this matter-energy, this matter flow, this matter in variation that enters assemblages and leaves them? It is a destratified, deterritorialize matter…It is a region of vague and material essences (vagabond, inexact and yet rigorous), distinguishing them from fixed, metric and formal, essences…They relate to a corporeality (materiality) that is not to be confused either with an intelligible, formal essentiality or a sensible, formed and perceived, thinghood”.

Deleuze and Guattari, Thousand Plateaus

ATTI~GESTI MINIMI (COME FONDAMENTO DELL’ESSERE) / MINIMAL ACTS (AS A FOUNDATION OF BEING)
2015-2016
mixed media

wood, glass, plaster, fabric, wadding, oil paint, marble dust, glue, aluminum, glitter, mirror, mastic, sponge, needle, thread, cork, soap, organic elements, cotton

In my work I want to express my interest for those gestures that are part of everyday life. These acts – linked to routine – often become invisible for us due to habit and repetition. It is in these minimal gestures/acts that is actually based our “being-in-the world”. The philosopher Martin Heidegger says that being is to inhabit the world, and somehow I think that the act of tidying up is a form of “rooting” ourselves in the world. When everyday rearrange, we relate ourselves not only to the organization of the objects, but also with the order of space. The space in general, and the domestic space in particular, have their invisible spatial code to which we must adapt. This order guides in a geometrical form – without noticing – every action in space. The space becomes not only physically, but also cultural and related to everyone’s personality.

OSSIMORO

2016

Photograph on synthetic fabric

In this work I reflect about the usual view of the things and I imagine, for example, how a rigid material like a glass can be a fluid and soft like a tissue and vice versa.

Spazio Barriera, Torino

RICOLLOCARSI / REPOSITION

2014-2016

Sculpture, installation, assemblage, ready-made
Plaster, pigments, acrylic, varnish, mural paint, oil paint, beeswax, wax, mar- ble dust, glue, gold, copper, aluminum, glitter, plastic, glass, wood, slate

Things seem to be absorbed by the space, suspended between presence and absence, but in a constant physical relationship with us and our being. My work is always linked to the idea that the artwork can change in time. I’m interest to the construction and deconstruction of materiality and I want to discover the potentiality and the inability of objects to see another side of the subject treated. it is for this reason that I often leave the possi- bility to the work to change shape.

The installations are mainly composed of plaster sculptures (and other materials), found objects, assemblage, pure materials, ready-made that in their forms and materials are linked to objects of our daily life. The instal- lations are presented as the translation of my vision and synthesis of the reality. These works create a number of possible references that include architecture, childhood games, objects of daily use. The freedom of inter- pretation allows the user to create a personal vision of the work. Reposition itself has a double interpretation: it is the way to indicate the “fix”, the reordered objects and space, but it is also a possible way to defi- ne and especially “redefine ourselves” in space; to place ourselves in the world, putting us in relation to reality and give value and meaning to our surroundings. Redefine our vision of reality, a vision that must be active and not passive. It often happens that our surroundings become invisible to our eyes once they are consolidated in our habits.

Somehow, the “things” that populate our world possess their vitality even when forced to immobility.

This work includes a series of photographs in which the objects are pre- sented, sometimes in a sort of paradoxical form. Through careful study of shapes, colors, perspective and composition, the immobility of objects it is represented. They seem to support themselves with each other and lose their initial function. Compositions are suspended in a monochrome spa- ce where the “guidelines” , that govern the composition, are broken glass and plates of zinc: without these elements, the compositions – and image – would not have the same harmony. The idea is to start from immobility of the objects and, through their dialogue, bring them closer to our being and to our living dimension.