Sometimes one can perceive
a hint of the impertinent spirit of the comic....
Irony gives the opportunity of being creative
and ri-creative. When I built the ultra-violet light-box showing my face and tanning the viewers, I thought of an object
that could have the control of the territory, permeate the space
in a cold way but with a percentage of ambiguity that could give
a human clock to the work.
The starting point is always the reality, the experience of life.
Of course. In fact Eisenstein says: "The organic unity
of the work and the feeling of the organic unity produced by the
work arise when the law of construction of the work corresponds
to the law of construction natural phenomena." I share
this thought.I try to build a parallel world in which the natural
and the artificial interpenetrate.
The work where there is the recovery of banal and obsolete objects
might disguise a subtle criticism to the homologation and the ritual
of use and throw away....an ecology of the mind.
The consumer goods culture or the lack of space force us to get
rid of objects that belong to us, making us throw away with them
also a tranche of our past. The objects thrown away by the
owners are signs of someting else and recall life experiences like
fragments of a different universe. It is an artist's task to rescue
the object not only as a generator of significance, but above all
as the holder of power.
On one hand the use of certain industrial materials linked to
a real function and of other icons of every day life favours the
communication ; on the other hand their subjectivization creates
a transformation of significance and an estrangement. Is this percettive
short circuit intended?
Intended and sought for through the remote adoption of distorted
functionalities, the disguise of contents and other special
effects.The re-awakening of perception is guaranteed. |
