Apparteneza
Appartenenza
It’s a mixed pulp’s papers composition, where this pulp is self-made following the seventeenth-century Italian paper factories’ technique. The circular pictures, prints inkjet w/b, are taken from Google maps and they are processed with photoshop. They represent some views of Catanzaro, my birthplace. This is a labor that creates a reflection on the difficulty of completely enjoying the landscape, it is a charge to a world which is more and more lived on a keyboard in return for a mass of useless informations created by a bulimic media system. This work acquires property related to belonging and memory: with the consecutive position of the small pictures I try to show off the impossibility of living a memory in a full and clear way. Papers are fixed on nylon’s filaments, as if they were suspended and tensed toward the ground by lead’s weights. This nylon’s filaments are useful instruments to fishing used by my father and this is an omnipresent memory of my childhood. Beyond this tentative of making touchable a memory, I also use this materials to express an idea of the couple lightness/heaviness in a Calvinist tone: In effect they are complementary, as if they were that son of the other. The most landscape element of this work turns out to be paradoxically the handmade paper, in a process that goes from the planum to the finished product ,rather than the pictures: they are not real landscapes but only mere and empty representations of them, useless like the appearing of our contemporary living.
It’s a mixed pulp’s papers composition, where this pulp is self-made following the seventeenth-century Italian paper factories’ technique. The circular pictures, prints inkjet w/b, are taken from Google maps and they are processed with photoshop. They represent some views of Catanzaro, my birthplace. This is a labor that creates a reflection on the difficulty of completely enjoying the landscape, it is a charge to a world which is more and more lived on a keyboard in return for a mass of useless informations created by a bulimic media system. This work acquires property related to belonging and memory: with the consecutive position of the small pictures I try to show off the impossibility of living a memory in a full and clear way. Papers are fixed on nylon’s filaments, as if they were suspended and tensed toward the ground by lead’s weights. This nylon’s filaments are useful instruments to fishing used by my father and this is an omnipresent memory of my childhood. Beyond this tentative of making touchable a memory, I also use this materials to express an idea of the couple lightness/heaviness in a Calvinist tone: In effect they are complementary, as if they were that son of the other. The most landscape element of this work turns out to be paradoxically the handmade paper, in a process that goes from the planum to the finished product ,rather than the pictures: they are not real landscapes but only mere and empty representations of them, useless like the appearing of our contemporary living.
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