TWINS
Everything started with a click, or, to be more precise, with a series of clicks, those by which I managed to successfully bid for a 1950’s armchair by the Italian designer Marco Zanuso on a well-known auctions web site.
I had a very precise intention: I just wanted to destroy the armchair, to perform the very act of severing this utilitarian symbol of long-gone golden age, cutting it into two identical halves, before carefully reassembling them in a variety of configurations and photographing them.
Behind the gesture of symbolic translation, there is a whole series of questions which are being implicitly raised: the question of our relationship to our modernist heritage, which, although being relatively recent, is nonetheless already threatened. Then there is, more generally, the question of destruction as an inescapable parameter of evolution.
Destroying before reconstructing in an infinity of possible reconfigurations is a recurring topos in my work. The metaphor of the look of the “other” would then become the one of the look of the artist, as a look which does not avoid the destruction or the alteration of a given form / concept to attain the infinite multiplicity of the recreated / reshaped forms.
I had a very precise intention: I just wanted to destroy the armchair, to perform the very act of severing this utilitarian symbol of long-gone golden age, cutting it into two identical halves, before carefully reassembling them in a variety of configurations and photographing them.
Behind the gesture of symbolic translation, there is a whole series of questions which are being implicitly raised: the question of our relationship to our modernist heritage, which, although being relatively recent, is nonetheless already threatened. Then there is, more generally, the question of destruction as an inescapable parameter of evolution.
Destroying before reconstructing in an infinity of possible reconfigurations is a recurring topos in my work. The metaphor of the look of the “other” would then become the one of the look of the artist, as a look which does not avoid the destruction or the alteration of a given form / concept to attain the infinite multiplicity of the recreated / reshaped forms.
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