This is a series of monotypes realized between January and May 2014
Through the immediacy and constant saturation of information in contemporary society, the world that surrounds us has become one of post shock culture. The contemporary human is
however, still full of hope, dreams and thoughts.
This personal visual manifestation of contemporaneity I express through the idea of RAW HUMANS.
Beauty is harsh and raw, I don’t try to idealise or abstract the body, but to bring back its true physicality.
Series of Monoprints
Co-opting and repurposing the deteriorating post-industrial environment, Sizing Grounds makes an intuitive, psychologically potent connection between cor- rosion and beauty, decay and romanticism, juxtaposing readymade surfaces, textures, patterns and physical objects from a shattered, man-made landscape and intuitively manipulating them in order to create compelling monotype ima- ges – a kind of ‘printmaking of the 21st century urban psyche’.
Using objects such as ropes, fencing, netting, glass, panelling, metallic shards, crowns of wire, etc., this is work that locates psycho-geographic significance amid obsolete utility. It also hints at anthropomorphism, the environment’s su- perficially defunct factories and machinery still faintly alive: their many patched layers telling of long-sustained lives, their skirts of toxic, time-scarred detritus gathered about them like belongings. Despite a moribund mien, they continue to usher forth a too-easily overlooked aesthetic richness.
Inspired by the rusting, dripping, crumbling, barbed wire-festooned former fac- tory landscape of Hackney Wick, in East London, this work treats the material realm as an aesthetic instrument in and of itself and feeds off the many compel- ling collocations found in this very particular post-industrial epicentre. Focusing on the tensions and divisions between definition and blurredness, loudness and quietude, the weathered and gentrified, the accessible and the forbidden, Sizing Grounds navigates a compelling path that oscillates between analysis and intui- tion, seeking to exhume buried meanings from an apparently de-engaged zone.
That sense of ‘division’ is also played out in the chosen mark-making process
itself – the, sometimes extreme, separation between the concrete objects and the printed imagery they make with their surfaces reflecting the dichotomy that is at the core of the project. Similarly, there is a bifurcation between human/ae- sthetic intent and pictorial outcome, courtesy of the unpredictable, essentially aleatory nature of the monotype process. This absence of complete human con- trol allows the images a kind of uncanny autonomy, again chiming with Sizing Ground’s principle concern, wresting visceral resonances from an environment all too apparently shorn of meaning.
Sizing grounds installation at Galleria varsi in Rome. March 2017
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