VIEW IN MY ROOM
Italy
Photography, Color on Paper
Size: 11.7 W x 16.5 H x 0.1 D in
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This is an image of the first fabric sculpture I made in 2014. The process for building this sculpture was different from the other pieces in the series. I started by shaping a head with wire and then placed pieces of white cotton to cover the different planes. In this first step the head resembled an ancient Roman head. Then I started sewing the pieces and spaces between the main facial features contracted, leaving the main features more obvious and reducing the space of undefined skin. In this second phase, the head began to take on the characteristics of an ancient Assyrian, or Phoenician, ancient culture between the Mediterranean Sea and the Middle East, suggesting that some processes involving fabrics may have been used in the creation of works of art representing the human head. The choice to emphasize the main facial features might not have been symbolic at first, it might have become a symbolic choice, after a process similar to what happened to me.
Photography:Color on Paper
Artist Produced Limited Edition of:30
Size:11.7 W x 16.5 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Italy.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
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I plan to paint in some kind of traditional Italian way, but I often end up doing other things. Collage results in a way to postpone the question “about me” and to receive help from the outside, from a patch, from a piece, like a letter to someone, a phrase out of a casual conversation... I like being in the middle of something created for other reasons, letting it change the priorities of my thoughts; to begin without the labor of birth, just the chaos of living, all in a sudden; to be a free witness of the living, of the absence of the void. I remember a blue sky one evening, so bold, so brimful. It overturned every perception of where I was, if in the full or in the need; both sides, both the cityscape and the sky were filled and willing to be the subject, they pushed on the border. Drawing and painting from life, I experience a similar confusion, lights and colors pulsate in accumulation nodes and vectors, contaminating each other, intercepting figures, not only as shaded signs and smears, but ambitions of a form and of the space around them, that add up in a huge amount of unstable data. So, I wonder if seeing means choosing, protecting oneself from reality, from the harshness of density, from those encounters of divergent wills, and inventing simplified forms as a maternal language. Many artists and people have influenced me, but I would like to remember here the work of Georges Rousse and Felix Gonzalez-Torres. Rousse for having affirmed an organized bidimensional shape out of chaos, as a sum of interventions and paint on ruins, spread three-dimensionally in abandoned architectures, physical memories of places that have lost their function. A simple geometric form appears from a single point of view. I think he explored the opposite direction of fragmentation and of relativism. Gonzalez-Torres for having imagined a way for sculptures, similar to variable installations, that does not need a rigid and fixed form, but could be flexible and repositionable as an electrical cord of light bulbs; or inconsistent yet defined as an accumulation of candies, which could be move away in pieces, maintaining the imprinting of the pile, the pyramidal iconography of a holy motherhood, and could be eaten like a host, to share the holiness or the decay of a body, condensed by time, evoking an original innocence and health.
Artist featured by Saatchi Art in a collection
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