O.A.
The work consists of a series of seven images inserted into vertical wooden structures and protected by fresnel glass with independent lighting. The ensemble is installed in an enclosed space with background music, and in a separate area, there is a projection of a video where the base images, electronically reworked from the analog ones present in each wooden structure, are animated in continuous succession with gradual variation in tone and color. A larger-than-life mural artifact depicting one of the apparitions is located in an isolated area of the installation environment.
The work is a continuation of the research on the relationship between photography and chaos that distinguishes the artistic research of the ferrariofreres group. Apparitions in the form of figures, which cannot be distinguished as representing sacredness or simply residues of mundanity, take shape in landscapes emerging from random juxtapositions of residual clusters of descriptive observations by indication, mirroring a witnessed presence of distant places: buildings, houses, skies, trees, and animals reassemble in a momentary order that gives the impression of something that has always existed. An uncertain levitation, which at times seems to float adrift in the currents of these disturbed skies, leads them to dominate the landscape and, seemingly, the observers who undergo the vision. At the moment of the apparition, everything seems to have an order, everything seems to be born for a purpose beyond human reason; finally, everything seems to be recorded in the absence of humans by devices that force the continuum of the flow of reality into a pyramidal order of vision. It is this vibration that is reflected in the mechanical recording device of reality that gives those who observe the images the illusion of a harmonic oscillation, the one that every observer hopes to find at the bottom of every vision as a transduction element for the knowledge of the world.
MATERIALS
Silver gelatin photography, wood, glass, video projector.
“…I must admit that, even though my background is purely scientific, sometimes artists have the faculty to represent, in an intuitive and unconscious way, hidden realities that bring them closer to the products of mathematicians’ and physicists’ insights. Apart from that, the latter have the ability to create worlds with a pronounced imagination that explain the phenomena of reality, while the artist manages to make reality vibrate by covering it with visual suggestions. The intuition present in this work, of bodies becoming vibrant in unison with the flow of energy that traverses the world and that we can feel through living bodies, recalls the harmonic oscillators elaborated by men of science to represent the phenomenal. What difference does it make then if ultimately both the artist and the scientist arrive at devising, aesthetic for the former and logical for the latter, devices that allow the representation of the cyclicity of time, the vibration of matter, and finally, man who is a trace of the continuous change of the world. As with the monk and the libertine, the coined woman and the ecstatic saints, the erudite and the genius cretin, there is no difference!”
Beo F. Tscheit
(Researcher in History of Science – Gottingen)
ALTRI PROGETTI
