I believe that art frees up the contemporary artist from any presumption of content. The artwork is the means of liberation, the place where the meaning should not remain entangled, as much as possible.
The artwork comes “from” a kind of meaning but it does not impart any kind of meaning.
Given this premise, all I’ll discuss is a reiterated starting point, a signification that gets exhausted with the artwork.
I usually work with earphones on. I perceive the music I listen to as – the essential feature I seek in a sound composition – a lament of extinction, that very threshold, that consciousness of existence nevertheless … I look for that boundary that separates language from nonlanguage. If this might inaccessible in the objective reality, in art that’s the essence of research and experimentation.
I am not too interested in the technical approach: other than two or three key points, I refrain from self imposing a very constrained formal style.
I often find myself working around opposites, neighboring territories separated by a minimal gesture, that is, the nonexistent boundary that allows for the very existence of the territories, and often morphs into a time threshold. Such opposites might be order and disorder, above and below, quite often white and black. I’m not interested in opposites per se, but as vectors of friction and dialectics that get realized in a point of contact, in a precarious equilibrium, in a zero. Space-point of elision and algebraic silence and, simultaneously, time-point of disappearance and dissolution.
I loosely refer to the area of post-minimalism, as an expression of a confused and insane modernism, that fails to get healed and fails to die.
I’m interested in the raw material. This is not about centering the research on the principles of painting (modernist attitude par excellence), but perhaps isolating the materials that are enablers of the artistic production itself. The black, for example, in the stock of black series is not merely the color of some parts of the work. Rather, it is a substance-function, at times still potentially active (carbon paper, liquid ink), at times simply stacked and free. The canvas, in some works, overflows to spread the contents. The foam rubber, something I used to employ a while ago, absorbs and creates protections. The tape imposes relationships; it temporarily protects but also covers precarious seals; it repairs.
The art emerges as a healing and simultaneously prescribes a sacrifice; it invites us to the gamble of capturing the emptiness with the full, and viceversa; the reward for the lucky ones is a becoming process: become witnesses of a difference and become places of a contradiction at work.
” Art is a practice. Around formal ideas. That aims to isolate. An atmosphere. ”