AV17 GALLERYVilnius (Lithuania)
Skiagrafie is an articulated installation that completely relativizes the jewel as an object (as well as ornament), projecting it into a dimension of mobile suspended interrelationships between materiality and image. The work draws its origin from the sense of the term skiagrafia (the ancient painting technique of chiaroscuro), which literally means writing/inscription/design (graphìa) of the shadow (skià). A shadow is defined as a discontinuity of the luminous flow due to the presence of an object. Continuity (light), in the physical world of our experience, is then immediately related to a discontinuity (shadow). This, however, is not an exclusive opposition, but a singular and indiscernible coexistence. The infinite variety of reflections and refractions is the way in which things appear to us and make it visible. The chiaroscuro raises the problem of the priority of deformation (continuous variation) with respect to the abstract (classical) representation of the form-matter relationship. It is in this sense that the writing of the shadows becomes tempting to think the jewel as de-formation. The installation consists of four elements:
These are two series of flip books (or Kineograph, according to the name given by J.B. Linnet who invented in 1868): in the first, is shown the entire photographic sequence of an illuminated object placed in chaotic oscillatory motion that projects their shadows on a background. In the second, the same sequence is reduced to the only points of singularity in which the moving object changes direction. I try, thus, to make visible (1) the continuous/discrete relationship internal to the movement and (2) the transitory deformations of the projection.
A series of rings is disposed on a “runway” held suspended at one extremity. The architectural structures of the rings construct microspaces made of fulls and voids. The deformations and projections multiply in internal and external relationships between object and space, metal and other materials (resin, melted amber, etc.). The jewel becomes the complex of these multiple writings, de-forming the place (topos) of the path’s directions of possible worlds.
A parallelepiped illuminated from the inside casts the shadows of a series of rings (daktylios) on an opaque surface. Here the object disappears completely leaving only to see the shadows.
A sound sequence (diffused by speakers), composed by intensive and spectral variations of Brownian noise (brown noise), plunges the dattiliographies into a fluctuating, unstable and chaotic soundscape.