The work is based upon a continuous manipulation of images. These are intersected, mixed and fused together through the use... Read More
The work 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 leads to assemblages in which the elements are no longer separable but rather become part of multi-layered networks.
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 “framed” by a digital screen is potentially usable. Included elements are ordinary, common, everyday images mainly taken from the internet. They are neither evaluated by their high resolution nor because of their representative qualities.
The continuous process of de-contextualising and re-contextualising images passes through the removal of their conceptual and visual frames. The approach to the manipulation process is the opposite to the one of the designer: avoiding to start with a precise idea of the final appearance of the image the experimentation leads to unpredictable final results.
The overall approach to the production is driven by the wish of unity. Continuity is achieved by applying a montage that tries to eliminate the integrity of the single elements (everything must be a fragment), the duality / opposition subject / background, the horizontal orientation of the image, the functional and the logical relations within objects.
The goal is to escape the naturalistic representation to produce instead a dream-like / mnemonic / dynamic experience.
Randomness also plays a central role in all phases: I always try to find effective strategies to avoid to compose the image. I am not seeking representation but rather intensity by moving around fragments and by finding associations between them. The creative process tends to coincide with the viewing moment, the creator becomes also the spectator. This fact allows a displacement from the self that leads to a greater openness of the work.
Most of the works are produced and articulated on transparent layers arranged in relation to a specific space. This spatial articulation of the works, together with the stillness of the images within them, wants to stimulate the movement of both the body and the eyes. The visual sequences deriving from these movements can be related to the cinematic experience but it is a kind of cinema where the eyes of the viewer becomes the camera and the movement of his / her sight the motor of the projector.
Rational thought and classical narrative systems are denied. Thanks to the use of a fractal structure the sight wanders around, chaotically constructing always different sequences and expanding the reading time potentially to infinity. The work is never completed in the way that it can always be rearranged to form other assemblages, replicating the becoming of the images through the internet or within memory.