May 17, 2009 20:00
These three works were conceived for assonance of style rather than for consequentiality. They are works apparently without dramaturgy where the structural singleness of the body declares itself to be dramaturgic. To simplify, we could say that Vivido has a cinema bearing, Trillo a pictorial-kinetic bearing and Brillo a sculpture-pop bearing.
In my recent works I had investigated the sculptural, iconographic body first and, later, the body as a cultural instrument, analysing its connections and structure. I was interested in the logic of movement dictated by the conditioning imposed by western posture and by artistic representations from the history of art, in order to portray movement as the passage from one pose to another, like a succession of frames.
In Vivido, Trillo and Brillo research on movement was triggered by the attempt to represent, through the dynamics of interior connections, passages of impulse and reorganisation of the skeleton and of weight in a body where movement is made possible by emotional pressures and construction processes based on repetition and surprise in the sense of a sudden happening.
In these works, space is considered as a place of apparition, naked, disregarding its own function. Space is therefore uprooted from the functional priority of support.
Light simply determines the possibility of representation and the raw vision of the physical score.