X_MAP
My work is realized through woodcut technique (raised surface).
The total surface (105x75cm), which is derived from the engraving of nine beech woodblocks of the same size (35x25cm), is achieved through the carving of only one shape and through the spoon printing method on a single sheet of paper.
In the context of my research project Su fondamenti invisibili, X_MAP is presented as an open map. Indeed, the creases are the first clue that lead to the access to the work.
If nine possible reference points (a1, a2, a3, b1, b2, b3, c1, c2, c3) are implied, the composition visually evokes a contour map. However, the elevation values -crucial for the topographical survey- are missing and this makes the relief as the mapping of a place ‘x’ more than a specific site, ideally a place suspended above the clouds, a nonexistent place.
A grid crosses the composition and three solid lines run throughout the whole surface. The contour lines are the result of abstraction, they are located in the sky and photographed with the interposition of fiberglass (see a3 sky). The caustics are selected and consecutively arranged in a digital collage restoring the total size of the work.
|link> a3 cielo; a3; |
http://www.premioceleste.it/portfolios/idu:83686/idn:8620/
ON INVISIBLE FOUNDATIONS
«The smallest element is the one that composes all the others»
I have assumed painting as an artistic medium.
Like in a map, the module is a necessary element and it is at the very basis of my artistic research, as a structure as well as a cognitive system.
The module, both as an established pièce or simply as a part of it, frames the work in terms of small compositions, but often operates as a method within the confines of larger configurations.
Modularity has within itself the research process which makes it the ontological medium used to comprehend one’s path throughout time.
The works selected for this project are conceptualized on fiberglass, a material generally employed as mosquito net.
The main theme is the horizon, which should be interpreted here as sky or, as an element directly linked to the material employed, landscape through a window.
The horizon, as it pertains to the semantic sphere of the philosophical concept of infinity, is beyond the furthest place that the eye can see, it is a nonexistent place, an ápeiron (ἄπειρον) of a limitless reality.
The total surface (105x75cm), which is derived from the engraving of nine beech woodblocks of the same size (35x25cm), is achieved through the carving of only one shape and through the spoon printing method on a single sheet of paper.
In the context of my research project Su fondamenti invisibili, X_MAP is presented as an open map. Indeed, the creases are the first clue that lead to the access to the work.
If nine possible reference points (a1, a2, a3, b1, b2, b3, c1, c2, c3) are implied, the composition visually evokes a contour map. However, the elevation values -crucial for the topographical survey- are missing and this makes the relief as the mapping of a place ‘x’ more than a specific site, ideally a place suspended above the clouds, a nonexistent place.
A grid crosses the composition and three solid lines run throughout the whole surface. The contour lines are the result of abstraction, they are located in the sky and photographed with the interposition of fiberglass (see a3 sky). The caustics are selected and consecutively arranged in a digital collage restoring the total size of the work.
|link> a3 cielo; a3; |
http://www.premioceleste.it/portfolios/idu:83686/idn:8620/
ON INVISIBLE FOUNDATIONS
«The smallest element is the one that composes all the others»
I have assumed painting as an artistic medium.
Like in a map, the module is a necessary element and it is at the very basis of my artistic research, as a structure as well as a cognitive system.
The module, both as an established pièce or simply as a part of it, frames the work in terms of small compositions, but often operates as a method within the confines of larger configurations.
Modularity has within itself the research process which makes it the ontological medium used to comprehend one’s path throughout time.
The works selected for this project are conceptualized on fiberglass, a material generally employed as mosquito net.
The main theme is the horizon, which should be interpreted here as sky or, as an element directly linked to the material employed, landscape through a window.
The horizon, as it pertains to the semantic sphere of the philosophical concept of infinity, is beyond the furthest place that the eye can see, it is a nonexistent place, an ápeiron (ἄπειρον) of a limitless reality.
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