TO SEE WITH YOUR/MY HAND, is the expression of performance, as an hybrid medium between action and communication. I usually start by making objects with found/recycled/or poor materials (such as rope, jute, cardboard or old clothes). I consider those objects as sculptures that have to be activated by people. Through people's participation (and activation of those objects) I create situations which allow me to explore the potential of performance. In creating those situations what interests me is the energy that stems from those collective actions: an energy that can stay eventually with people also after the action’s end. Since my first important work during the art academy - the Functional face objects, bodily movements and the physical participation of the people are very important factors: my works exist indeed thanks to corporeal participation. I also believe that my works create the conditions for such a movement (bodily interaction and physical gestures) to be showed/seen in its becoming. A few years ago, while I was researching through architectures books in an art accademy library, I was struck by an image I found within an art catalogue: the image was titled "Biological architecture" 1)°I started wondering what I was seeing. What was in that picture? a performance, an action a movement, a sculpture, a collective action, what was I actually seeing? From those questions and doubts I started my investigation into Lygia Clark's work, and particularly in the work she did during her lessons in Paris (Sorbonne) where she ran for 5 year, a class course entitled " the gesture and the communication" .
1) °Architetura Biologica I ,1969, from the Catalogue Lygia Clark, Fundació Antoni Tàpies 1997.
ON RESIDENCY: AN (IN)VISIBLE PRODUCTION, Kunsthuis Syb, Beetsterzwaag, The Netherland, 2012
