The Nature Side Job, Biroscape #28

I can finally think of 72 painted panels project, while at 6 pm, 3 am Italian time, in Los Angeles will open the exhibition to LACDA with two of my digital artworks.

Thinking about Dada’s anniversary: “Found In a drawer at Hans Arp home”

I’m happy to participate with two of my digital pictures in this exhibition. My artwork cross the ocean for the first time, it’s exciting.

The cardboard is 10,5 x 14,8 cm, and deep 20 km.

I would like to lead to reflect to understand a course. The path of the pen, of course.

The artwork must have the possibility to be seen from the distance in which it is conceived.

The work was preceded by numerous sketches, by drawing the objects details which are part of the painting.
I need to know the shape, deeply, in order to obtain a synthesis in the final blur.
The blurring, that there is in the whole picture, focuses in a space that has its center in the clock tower.
My desire is to use it as a lure to encourage the viewer to come closer to the painting, in the center of the painting, to see the composition of each single brush stroke.
Approaching the canvas until the painting does not occupy the entire visual eye space, forcing eyes to seek sharpness that will find only in the stroke of the brush, which is the main protagonist of the artwork.

The practice is the exercise itself. The result is unmistakably under the eyes of the beholder. Read a blueprint it is to trace its development. I dare say that to watch a design is investigating its evolution more than his final definition.

La pratica è l’esercizio in sè. Il risultato è inequivocabilmente sotto gli occhi di chi guarda. Interpretare un disegno è ripercorrere il suo sviluppo. Oserei dire che guardare un disegno è investigare sulla sua evoluzione più che la sua definizione finale.

Fragmenting work and accost into a homogeneous whole. I have many ideas but no that fully satisfies me. How to convince the viewer to get closer to the work rather than move away?  People should realize the importance to have eyes immersed in the artwork  without another suggestion look around.
I could get the same feeling by grouping several scans of a work, as a temporality “contemporary.”
This is a first step but it is still far.

Frammentare un’opera e raggruppare in un tutto omogeneo. Ho molte idee ma nessuna che mi soddisfi pienamente, sul modo di convincere lo spettatore ad avvicinarsi di più all’opera invece che allontanarsi. Si dovrebbe cogliere l’importanza di avere lo sguardo pieno di un’opera senza altro intorno.
Potrei ottenere la stessa sensazione raggruppando scansioni diverse di un lavoro, come una temporalità “contemporanea” .
Questo è un primo passo ma sono ancora ben lontano..