Core
Lightbox with the light on
Lightbox with the lights on
Dettaglio
Detail
Lateral View
Later view
Dettaglio 2
Detail
Immagine di partenza (su tela)
Questa immagine è stata ricavata da un montaggio di varie immagini prese da Internet. L'elaborazione digitale è stata poi stampata su tela sintetica che fungerà sia da supporto fisico, tendendo il telaio del light box, sia da base atta a ridurre e diffondere la luminosità dello stesso. Infatti questa superficie si trova dietro a quella su pellicola di polipropilene.
Immagine di partenza
Questa immagine è stata ricavata da un montaggio di immagini prese da alcune scene registrate da un videogioco. L'elaborazione digitale è stata poi stampata su una pellicola di polipropilene che andrà a coprire la stampa su tela.
Work in progress 01
Work in progress 01
Work in progress 02
Work in progress 02
Work in progress 03
Work in progress 03
Other works
Work in progress altro lavoro simile
Work in progress similar work
Work in progress altro lavoro simile 02
Work in progress similar work
Work in progress altro lavoro simile 03
Work in progress similar work
Work in progress altro lavoro simile 04
Work in progress similar work
Work in progress altro lavoro simile 05
Work in progress similar work
Work in progress altro lavoro simile 06
Work in progress similar work
Coincidence #1
The starting materials are found photographs taken in 2008 around Europe. I immediately found a distance between the memories I kept of the travel that was depicted inside them. I started to consider these pictures as completely autonomous elements to play with; everything inside the frames becomes detached from a specific past experience. What I am looking for in this experimentation is a kind of unpredictable, unexpected, imperfect, or even only evoked communication between two or more images. Frames get broken, violated by a ‘no men’s land’ between images that smoothly brings us from one the other. These shared territory can be made by colours, shapes, signs, conceptual associations. In any case what interested me is not to find a mimetic ‘perfect match’ between pictures or a ‘trompe-l-oeil’ effect but rather a strong, but at the same time, unstable communication that opens playful but appropriate new relations.
Content-Aware #1
UBJECT 01 – Pornographic images The following works have been made by using computer generated contents to fill partially some starting images. These pictures have been downloaded directly from the Internet and chosen from the Google research “porno”. This series relates poetically the arbitrariness of the generated content to the peculiarity of ordinary pornographic images. Pornographic representations, characterized by their strong content driven by their commercial purposes, exist to capture the spectator and to make him/her consume them fast. The object of desire / represented action often occupies a central position. Here the center is removed to make an ‘open image’ through the removal of the main subject. The centripetal collapsing of what is around / secondary / peripheral makes this unformal material a new ephemeral presence.
from the series "Coincidence"
The starting materials are found photographs taken in 2008 around Europe. I immediately found a distance between the memories I kept of the travel that was depicted inside them. I started to consider these pictures as completely autonomous elements to play with; everything inside the frames becomes detached from a specific past experience. What I am looking for in this experimentation is a kind of unpredictable, unexpected, imperfect, or even only evoked communication between two or more images. Frames get broken, violated by a ‘no men’s land’ between images that smoothly brings us from one the other. These shared territory can be made by colours, shapes, signs, conceptual associations. In any case what interested me is not to find a mimetic ‘perfect match’ between pictures or a ‘trompe-l-oeil’ effect but rather a strong, but at the same time, unstable communication that opens playful but appropriate new relations.
Digital superimposition
Digital superimposition
Coincidence #3
Assemblage made out of some found pictures
Work in progress
Work in progress
Digital Painting #2
Digital Painting #2
Sovrapposizioni
Sovrapposizioni
from the series "Horizon"
Digital manipulation
Digital Painting #4
Digital Painting
Suspended work
Suspended work
Suspended Work From the series 3d drifting
Suspended Work From the series 3d drifting
from the series "Coincidence"
The starting materials are found photographs taken in 2008 around Europe. I immediately found a distance between the memories I kept of the travel that was depicted inside them. I started to consider these pictures as completely autonomous elements to play with; everything inside the frames becomes detached from a specific past experience. What I am looking for in this experimentation is a kind of unpredictable, unexpected, imperfect, or even only evoked communication between two or more images. Frames get broken, violated by a ‘no men’s land’ between images that smoothly brings us from one the other. These shared territory can be made by colours, shapes, signs, conceptual associations. In any case what interested me is not to find a mimetic ‘perfect match’ between pictures or a ‘trompe-l-oeil’ effect but rather a strong, but at the same time, unstable communication that opens playful but appropriate new relations.
Digital superimposition
Digital superimposition
from the series "Coincidence"
The starting materials are found photographs taken in 2008 around Europe. I immediately found a distance between the memories I kept of the travel that was depicted inside them. I started to consider these pictures as completely autonomous elements to play with; everything inside the frames becomes detached from a specific past experience. What I am looking for in this experimentation is a kind of unpredictable, unexpected, imperfect, or even only evoked communication between two or more images. Frames get broken, violated by a ‘no men’s land’ between images that smoothly brings us from one the other. These shared territory can be made by colours, shapes, signs, conceptual associations. In any case what interested me is not to find a mimetic ‘perfect match’ between pictures or a ‘trompe-l-oeil’ effect but rather a strong, but at the same time, unstable communication that opens playful but appropriate new relations.
Work in progress 04
Work in progress 04
Digital superimposition
Digital superimposition
Mixed Media
This work put together drawings on canvas with digital images. The two layers are superimposed on the same plane.
Self shot
Work in progress 04
Altri Lavori / Other Works: Digital Painting #2
Self shot
Digital manipulation of self shots
from the series "Coincidence"
The starting materials are found photographs taken in 2008 around Europe. I immediately found a distance between the memories I kept of the travel that was depicted inside them. I started to consider these pictures as completely autonomous elements to play with; everything inside the frames becomes detached from a specific past experience. What I am looking for in this experimentation is a kind of unpredictable, unexpected, imperfect, or even only evoked communication between two or more images. Frames get broken, violated by a ‘no men’s land’ between images that smoothly brings us from one the other. These shared territory can be made by colours, shapes, signs, conceptual associations. In any case what interested me is not to find a mimetic ‘perfect match’ between pictures or a ‘trompe-l-oeil’ effect but rather a strong, but at the same time, unstable communication that opens playful but appropriate new relations.
Digital superimposition
Digital superimposition
Mirrored #1
(escaping from The Great Depression) This series uses images of the so called “Great Depression” and the photographic works commissioned by the FSA (Farm Security Administration). Images are simply mirrored and manipulated to remove the main information content. Becoming useless they acquire the possibility to host other narratives that are not strictly connected to a specific historical and political context. This is a sort of ‘second life’ or a second opportunity they are given to reborn from the grave of political manipulation
Digital Painting
This series deals with the notion of Digital Painting. Normally objects are defined as such for two reasons: 1 they resemble / imitate traditional / physical paintings; 2 they have been made by using digital technologies. In my case I am not interested in imitate painting but rather to use the specificity of digital manipulation. To work digitally is, first of all, to work in opposition to analogue: there is no more ‘analogon’, no more relation with an outside object to which we refer; loosing the outside referent means to push the work beyond representation thanks to the speediness and unpredictability of digital manipulation processes
Work in progress 03
Work in progress 03
from the series "Horizon"
Digital manipulation
Digital Painting
Digital Painting
Digital superimposition
Digital superimposition
Frame
digital manipulation
Digital Painting #6
Digital Painting #6
Content-Aware #2
Digital Manipulation
Print from the series "Mirrored"
Print on Photographic Paper
from the series "Horizon"
Digital manipulation
Tag Picture
Tag Picture
from the series "Horizon"
Digital manipulation
Fotografia di partenza / Starting photograph 01
This is one of the two starting photographs. I took it in London (UK) in 2012.
Fotografia di partenza / Starting photograph 02
This is the second picture also taken in London in 2012.
Sovrapposizione delle fotografie / Superimposition of the two images
This is the superimposition of the two starting images.
from the series "Horizon"
Digital manipulation
Superimposition
Artist Statement
My art practice is based upon a continuous manipulation of images. These are intersected, mixed and fused together through the use of software, digital technologies and manual intervention. The denial of the single image brings to assemblages in which the elements are no longer separable but rather become part of multi-layered networks. This process visualizes synthetically the complexity of the digital age, its fragmentation and acceleration, the accumulation and ubiquity of images. It also reflects on the broad crisis of visual representation. The manipulation starts with very heterogeneous materials that change every single time in relation to a specific ongoing process. Any physical reality able to be scanned, “framed” by a computer screen, is potentially usable: Internet pictures taken from both digital and analog archives, found objects, scans, photographs, everyday images are put on the same level. Images are not included because of their high resolution nor either because of the quality of their representation. They are selected for their ability to be part of a specific process of manipulation and, therefore, to relate each other. The approach to the manipulation process is the opposite to the one of the designer: avoiding to start with a precise idea of what the final image would look like, the experimentation brings to unpredictable final results. The way is the one of the nomad in an always changing territory: a series of operations are performed interacting with and, at the same time, changing the same ground we are walking on. Final outputs are still ‘open works’, independent but also capable to relate to other works, occasionally being part of series.
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