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PREMISE TO THE SERIES
This video is part of a series. I consider the concept of overall series to prevail over the single video. My goal is to create matrices, coded processes that allow us to study images, photos or videos. The starting point is always a real, documentary, representative and, to date, image of the organic natural world. I insert the video (or the photo) in a certain pattern-matrix, and a product of the series comes out. I then apply the same pattern to other videos, and by confronting the results I study the Fundamental Aesthetic structure of those moving images. The single product, the single video, is not so important. Some come out better, others worse - in the sense that some are more pleasantly watchable, while others are just studies with little or no individual aesthetic relevance. But this is exactly the point for me: the study of images.
These videos are also carefully designed for any physical set-ups, for a coordinated vision. With a plan relating to the sound aspect in development.
A fundamental element of these videos is that they become for me, as I said, matrices of new content. What comes out of these processes is the basis for further work that I am doing: a representation - the starting video - becomes a non-representative image, and this image then becomes material for further representation, and thus, potentially, to infinity. The screenshots, then processed, are for me images worthy of a frame: they are “produced”, because they are chosen to be such, to be hung on the wall. On these images I am proceeding to further digital static reworkings, and to physical works on wood with acrylic colors, plaster and other materials.
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ONTOLOGICAL STUDY N03 - MATRIX A
In this case there is no manipulation of the image, but only of the framing. We play with perception, I play with the narrative need of our perception: when something's moving, there must be a reason. An inspiration for this kind of videos comes from the Norwegian slow TV and from the work of Michelangelo Frammartino.
We see a composite image, then in this image we discover other things, other details, other pieces of the world that are invisible to pur perception until our concentration notice them. But they were there even before.
I consider these videos a "plowing" of the world and of the gaze. For me they are an exercise of great liberation.
The image is a representation of a thing, it is a figure. Then, along the way, my attempt is that this image becomes the background in which other figures arise. When an ant arrives, the bark no longer exists - just as there is no blank sheet when we are writing on it.
