Why did you choose zinc? GC: The division of a zinc cylinder into four different forms composes various Fasi lunari che deviano lo spazio. Each installation may vary the position of the elements, which alter space differently. The space is materialized by a black thread. The divided faces of the cylinder present various semi-circular forms like the phases of the moon. If I choose to recompose the elements to form the complete cylinder, in a certain sense I am indicating the full moon; and in this case, I wind the black thread around it.
Zinc was used in prehistoric times for castings, before being abandoned in favor of bronze. This fate means it is not identified as a classic sculptural material, and with its deep bluish-silver light, it is removed from the world as if it were an astral body.
It reminds me of a partly opened present and the anticipation of seeing what is inside.
I was interested in the expectation with respect to the revelation of substance. Will it be surprising? In my work, the substance returns literally to reveal itself and is no longer concealed from the senses. Because photographic vision is the only experience that we have of the starry sky of the universe, it forms a similarity with the geological appearance of a block of black Marquina marble with its fine white veining. A paper shell contains a mass of kilograms. Physically a dichotomy is created, while visually a continuous if unexpected depth is created between the photograph of the starry sky and the mass of black marble.
The gift package that begins to rip reveals an oscillation between substance and appearance and also checks the conceptual short circuit opened by Duchamp and Manzoni regarding the concealed content.
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In the case of Cosmicomica, form and dimensions are conceived so that the irregular polyhedron of statuary marble can be stood on each of its sides without a single fixed point of support. With each way of standing, only some of the lentils may lie in the concavities without falling, thus creating a constellation. The act of changing the support and redefining the constellations is like turning and playing with the universe. The lentils are seeds, points of life, and while scaled down, they are no different to the suns of the universe.
How did you make these works?
For this reason, I sculpted the stone to remove all evidence of its being worked. The icing sugar transforms into a pure gesture of lightness like a cloud. I realized that to make this delicate gesture clear and effective, I had to work with an impressive scale and dimension, hence the volume weighing nearly a ton.
It seems as though placing a thread of blue wool on this volume without mass lends it a minimal, gravitational state sufficient to make it react as a counter to the blue thread. In recompense, the blue thread traces the surface, weighing and falling in its every interstice. This tracing lends a figuration in which the tangle-volume becomes cloud and the blue thread the horizon defining a landscape. The sun instead traverses the cloud on a yellow trajectory. You might say that all this is pure contemplation, but it is precisely this that fascinates me.
RP: Giovane Universo Young Universe, is the size of your hand, yet the title magically scales the work to the universe. What is the thinking here? Does this piece by chance encapsulate the entirety of your work? The outline of my hand in silver-plated bronze wire presents a minimal obstacle that prevents the glass spheres from expanding freely in the surrounding space of the floor. The number of spheres may vary in relation to the quantity I manage to pile each time within the hand. Certainly, the metaphor of the creation of the universe is understood, but while cosmology has a theoretical description of what happened in the moments of condensation prior to the Big Bang, my work gives it a significant form—the hand of the artist as sculptor.
I quite agree with your observation that it is a neat metaphor for my work overall. In its gesture, it tries to shape matter as much as possible and ends up creating space. Skip to content. Carrara marble and red lentils, 80 cm. Il mistero nascosto da una nuvola The mystery hidden by a cloud , — Black Belgian marble and powdered sugar, 52 x 68 x cm.
Milan invades you, it shapes you, it allows you to leave a small part of you in this world. Accessible rooms. Incentive, staffed by experts in incentive travel working with Italian and international companies. Energy research in Italy Roma Challenges and perspectives of energy research in Italy: this is the theme of a meeting that will be held in Rome on December 9, at the Italian National Agency for New Technologies Eruptive scenarios
Il sole avvolge un paesaggio innevato The sun wrapping a snowy landscape , Plaster, yellow cotton thread, and Kassel earth pigment, x Couple with ancient feelings , Terra cotta, Sostanza Incerta Uncertain Substance detail , Black Marquina marble and photographic print on paper, 45 x Museo Del Novecento, Florence, Italy. These cookies have a lifetime of only 20 minutes even if the browser fails to close. For further information, please consult the Legal Information page. About us. Our offering. Investor Relations.
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