(18×24)cm x 3
Steel, mirrors, copper, brass.
The work is born from the wish to play with the dimensions, to go out from an imposed format and enlarge, create new spaces of expression.
The two mirrors facing each other, give shape to the infinity, a place/non-place, a flaw, an opening in the space-time which questions its own essence, its non-linearity and the different layers of reality.
Framed by two geometrical shapes it creates thus a space in which arises the sense of responsibility of what would be placed inside, thrown in this infinte reflection.
Acciaio, ottone, rame
“Sprofondiamo di strato in strato, attraversiamo le superfici, corriamo lungo l’incrinatura alla ricerca di qualcosa come un interno del mondo; ma quello che troviamo alla fine é una specie di piega o di fodera. Questa fodera è un irrobustimento, una intensificazione delle forze: nient’altro era il concetto di uomo, storicamente tramontato, nient’altro è l’idea di « oltreuomo » che stiamo cercando di costruire con una nuova consapevolezza.”
L’uomo archeologia rappresenta il nostro rapporto al mondo sviluppato dal filosofo francese M.Foucault, come archeologia del sapere. É fatto di superfici sovrapposte, di strati, come archivi, apparendo come una rete o un insieme di reti di sapere.
Gli strati sono infatti tagliati da una linea interna alla struttura.
Quest’uomo stratificato simboleggia anche un rapporto al mondo come preso nelle rete della tecnologia. L’oltreuomo é l’uomo 2.0, incorporando le tecnologie, ma portando ed essendo consapevole di portare in sé il tempo, le sue storie e quelle del mondo. É quindi un uomo fatto dal suo passato ma guarda verso il futuro, come un ponte.
Questo si può anche percepire attraverso la sua posizione, il movimento del suo corpo preso tra un andare avanti ed un passo indietro, per questo é stato anche creato un effetto di “glitch” ottenuto dal non allineamento degli strati e tramite la scalatura degli strati che vanno oltre
lo spazio definito della scultura.
Punti – linea – piano36x20x25cm
L’opera é nata da una ricerca generale sulle forme, affiancata ad un lavoro sulle nuove tecnologie ed i metodi che sviluppano per produrre forme e arte.
La scultura é fatta di piramidi, come “pixel”, assemblate una ad una, punto a punto, in una linea che da forma a un uomo, che si genera all’interno di un riferimento ortonormato. Apertura d’un nuovo orizzonte, uno spazio vettoriale, spazio di creazione nel quale l’essere umano si sviluppa.
Il titolo é un omaggio ad un libro di Kandinsky, grande maestro delle forme.
Mythopoeia is a proposal to rework old greek myths by transposing them in a contemporary context, in a shape of a serie of metal sculptures.
All those sculptures are bridges between a legendary past and a modern reality, they are an higly symbolistic interpretation of a world «in between», a world where, looking back at those old fictions we find the keys to open the doors of the understanding of our present.
This «in-between» appears by crossing, creating gateways between concepts, ideas by putting in relation the universality, the timelessness of the myths and a totally subjective vision of the world.
Each sculpture is made of steel mixed with an other material (concrete, messing, copper…) as the different mythological sources are always related to an other field of knowledge (science, philosophy, litterature, economy…).
Gaïa – I never learnt to be a woman, I have enough trouble being just me.
Steel, concrete and vine.
This sculpture has been realised in Italy during a residency organised by the cultural foundation of the italian city of Grosseto. It has been exhibited in the castle of the town and is now part of the sculpture garden of the association Arte Fuori Strada.
As I had to work about the thema «woman», I choose to focus on its creator aspect also as a «mise en abyme» of the artistic process, and depicted Gaïa, the primal goddess, the beginning and creator of everything.
This sculpture was thought as a civil altar to the creation and is also an interactive one.
Inside a steel chrysalis a vine is growing. During the vernissage, people were asked to remove and keep, like talismans, some metal leaves welded on the outside of the sculpture, doing so they were accepting the responsability of taking care of the vine.
The goal was thus, to create a special relationship between the citizens of the town and the scultpure, placed in the center of the city in order to produce, together, on the long term, some wine with the grapes collected, transfiguration of this collective journey.
A mise en abyme of the artistic process and creation and a reflection about the essence of the creator and the creation.
Which are the borders between them, what remains from the artist in the final art realisation and where does the inner power of it actually begin?
Hephaistos, a sculpture in steel, worked in its texture with plasma, seems to create himself under his own hammer beats on the anvil.
Le jardin désespéré.
Steel, wood and concrete.
Die Lüge wird zur Weltordnung gemacht.
Steel, barbed wire and copper.
Icare, un coup de dés jamais n’abolira le hasard.
Steel, rope and concrete.
Themis, Le poids des maux.
Steel and brass.
Atlas supportant le nouveau monde.
Steel, 1 and 2 cents coins, concrete.
Atlas is an old coloss with beton feet, crumbling under the weight of our modern capitalist world. The sphera which represents the world is made out 15 000 coins of 1 and 2 cents collected during 3 years. The necessary amount has been reached only thanks to visitors donations.
It is also a reflection about the absurdity of money, showing those red coins that nobody wants to have and use and which are, at the end, more expensive to produce than their own market value.
Sisyphe ou la quadrature du cercle.
Steel and concrete.
In the middle of a desolated landscape, Sisyphus is holding back his infernal burden to plummet and bring him down from the low point toughly reached. His burden is here represented as the squaring of the circle, or the allegory of the impossible in science.
It depicts the failure of the scientifical approach to describe our world, the fact that there will always be something resisting it.
The contemporary Sisyphus is a man who believes in science and considers it as the new transcendental, a priori and necessary form which shapes and explains the world.
Hiding behind sciences, his task is a constant repetition and will remain vain.
Narcisse post-modern, Je est un autre.
Steel and mirror.
The powerful miror faced, Narcisse, is looking at himself in the reflect of a broken miror.
Standing behind the sculpture and looking over its shoulder, the spectator could read the inscription Je est un autre, the famous quote of the poet Arthur Rimbaud.
Narcisse in his moment of abandon, of self-contemplation is thus projected into a postmodern world where he learns the fragmentation of his identuty, his self is not anymore a totality transparent to itself. As a post-modern individu he is experiencing the impossibility of being himself without the gaze of the others; foreigner, fragmented in himself, as maybe the ultimate narcissistic wound?
The sculpture has an open structure and is filled inside with welding wires, embodying a quote by R. Musil in The man without qualites which underlines the bestiality of the human being:
«We wear our animal skin with the hair inside and cannot shake it out.»
Danaïdes, insertion of interference/extraction of absurdity.
Steel and jerrycan.
Three pairs of hands are filling with a black liquid (oil) a leaky jerrycan. From those holes an other liquid, red this time, (blood), is pouring on the floor and cristalising in a shape of the map of the middle East.
Embodiment of the tragedy happening in the middle East where countries interference and wars, conducted under fallacious pretexts, are killing innocent civil only in the name of economic profit.
Prometheus, l’homme révolté.
Steel and light installation.
70x55x45 cm and 190x40x40 cm
Soteilkareh, On nous baigne toujours dans le même bain.
Steel, wheel, chain.
Iron Corset (collaboration with F.Cascavilla)