-----PREMISE TO THE SERIESThis video is part of a series. I consider the concept of overall series to prevail over... Read More
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.
ONTOLOGICAL STUDY N15 - MATRIX D
In this video, we take the digital abstraction of a moving image to its extreme consequences. The starting point is, as always, the depiction of a real object, its basic organic aesthetic structure is untouched. But the digital distortion make it impossible to link the image we see to the actual object it should represent.