In the exhibited works, the process of formal construction and deconstruction enquires of its relationship with the space and time granted to the unexpected; an unexpected born of both a physical relationship with the artwork while it is being produced and an openness to a “sensorial” exchange with the subject of the work often concerning archetypical images. Gaze and gesture modify trajectories in their search of form.
The generative experience is both physical and psychic at the same time. In the process of creating artworks there is a shift between psychic and physical, without a solution of continuity, at times charged with sensuality. In the dilated temporality of the action, even time – brought into the work – takes on a physical, corporeal, sometimes performative dimension. In this way every idea, every experience finds their own “body” to highlight the fluidity of perpetual change both within and outside us.
Image can be embodied in different states, becoming vision, as it inevitably inquires about its relationship with the material used, but also about its relationship with our feelings and our identity, this, above all, is how an artist thinks about the construction of a form and about the organization of space.
Gerardi, Laet, Simöes and Torres represent what happens in nature, the entropy of material during the work process, the absorption of time in the overlappings, afterthoughts and formal adjustments linked to our experiential memory, the subtractions/distortions of meaning due to cultural changes, the regeneration of the subject of the work to be presented to us visually and finally the possibility that the visitor can modify the form.
Deconstructing the image tends to break an hegemon, and often stereotypical approach. Thus the image becomes the vector of precise identity and cultural requests, in which the work is the threshold toward other worlds.
The generative experience is both physical and psychic at the same time. In the process of creating artworks there is a shift between psychic and physical, without a solution of continuity, at times charged with sensuality. In the dilated temporality of the action, even time – brought into the work – takes on a physical, corporeal, sometimes performative dimension. In this way every idea, every experience finds their own “body” to highlight the fluidity of perpetual change both within and outside us.
Image courtesy of the artists and Galleria Anna Marra; Photo: Simon d’Exéa
Image can be embodied in different states, becoming vision, as it inevitably inquires about its relationship with the material used, but also about its relationship with our feelings and our identity, this, above all, is how an artist thinks about the construction of a form and about the organization of space.
Gerardi, Laet, Simöes and Torres represent what happens in nature, the entropy of material during the work process, the absorption of time in the overlappings, afterthoughts and formal adjustments linked to our experiential memory, the subtractions/distortions of meaning due to cultural changes, the regeneration of the subject of the work to be presented to us visually and finally the possibility that the visitor can modify the form.
Deconstructing the image tends to break an hegemon, and often stereotypical approach. Thus the image becomes the vector of precise identity and cultural requests, in which the work is the threshold toward other worlds.