in order to realize this project i decided to present a series of works which not only represent different genres and occasionally different periods of production, too, but are also bound together by common requirements. quantity and dimensions are such that, despite the orderly arrangement, they produce a certain amount of overlapping due also to the limited space available. on the one hand this solution reflects a typical domestic state where furnishings, even when reduced to the bare necessities, in small spaces seem crammed in and forced into some kind of inevitable togetherness, while on the other it expresses an effective method where, even if each work project is the result of specific demands and experiments, every single work is linked to those nearby through communicative assonance or differences or as a re-interpretation of similar needs.
my work develops around an idea of architecture portrayed mainly as the ethics of living together. this leads to a vision of the “sustainability” of the work of art intended as much in terms of productivity as from the conceptual and sociological aspects. these requirements give rise to a method of work that favours primary concepts, the use of the more primitive sources of energy – light, heat, movement, electric tension – and a variety of sounds often created by a combination of some or all of these.
it is thus, from the sociological point of view, worth preserving in a vision of intellectual cohabitation which intends to promote an evolution of the post-modern state with regard to the globality of intellectual involvement.
the exhibition develops like a path that is not necessarily orderly, traced to accompany the visitor on a journey towards a state of understanding with the aforementioned requirements. the first room is partially filled by “untitled” a sound installation made from a ceiling fan literally lowered from above, by means of a telescopic extension, until it rests on the floor. the object loses its functional and decorative aspects and becomes a simple machine capable only of producing a rotary movement which, at that point, is no longer useful.
the regular mechanical rotation is, however, re-utilised as a propeller in a work of sound. around the fan, in fact, there are three small assembled sculptures, conceived singly as percussion.
simple formal solution obtained thanks to the uses of materials that are easy to come by-certain degree of accessibility to the work from the point of view of fruition, understanding and enjoyment; the idea stands out as the central aspect which clarifies the procedure.
instruments, which are shaken by its blades. on the walls there is a series of framed photographs variously displayed. these show the recent result of a work that was initially created in 2004 and is made up of an architectural sculpturesque assemblage of surfaces and fake structural elements in cardboard, plexiglass, polyurethane, ecc. some semi-trasparent surfaces have been lit in different ways from outside while others have been perforated to allow the light to filter through. the picture story shows evidence of the enviromental variations that have formed in the interstices of the structure with images which recall inside glimpses of unlikely buildings.
in the second room i have displayed four works of both medium an large dimensions. “ti amo” consists of a horizontally elongated hexagonal laminate panel of approximately three metres by 1.2 metres in size. on it sixty-two incandescent common light bulbs have been arranged in plastic holders. the luminous device is made to work by electro-mechanical controls which activate i at regular three-minute intervals. after an initial lighting of all the bulbs together there follows a programmed sequence of single luminous letters in rapid succession which spell out the titled of the work.
the motivations behind the conception of this work are many. first of all i am interested in portraying an explicit message and this led to the choice of putting it in lights but using domestic characteristics.
the shape of the device draws on a kind of proto- design which just about allows the specific functions to be accomplished. the interval system was decided on because after an initial reaction of attention the message is lost in the repetitive mechanism in the same way that feelings are lost when they are not “nourished”. in the centre of the room is the work “untitled (concept one), a structure in metal piping which forms a square-based paralleliped that rises from the floor right up to the celling. the structure is composed of four poles which define the respective load-bearing corners to which are attached at equal distances, in accordance with the vertical development, three cross-shaped structures which represent the outlines of three pointed cross vaults. at the centre of each so-called vault there is a celling-fan. the three fans are positioned vertically, in an orderly fashion, one above the other. the work includes an element of meditation about some aspects of building – in the broad sense of the word and not only from the structural point of view. bearing this in mind it can be seen how it reflects the constructive stylistic element of the cross-vault with pointed arches. the fans lose their function to certain extent and are there as mere representatives of action in motion. their layout also makes them somewhat dangerous and forces the observer not to get too close. it is a structure in motion, modularly projected towards infinity in vertical direction. finally, the works “untitled” and “untitled – green carpet” embody questions about vision and perception and the concept of landscape as a gaze projected towards infinity.