I see my personal artistic exploration as a chase for something that is always escaping me. There are a few moments here and there where it seems that I am getting closer to this “something”, or having a certain feeling of understanding, a momentary suspension of anxiety, criticism and doubt, an instant when things make “sense”.
What these moments are, what this “something” is? As an (always) preliminary answer, I can only give my own understanding of what an artwork could be: a particular assemblage of actions, objects and perceptions, which at first is no more than the sum of these elements, but then suddenly creates a metaphor that connects seemingly disparate feelings, ideas and thoughts in either the artist or the spectator (difference of roles which, by the way, I would like to become irrelevant: the roles of creation and perception mixing-up and coming back and forth).
This metaphor is fleeting, and could happen only once: there might be one and only one moment in time when the collection of elements the artwork physically is and the rest of the world around it create the metaphor. And yet I would say that the artwork is successful, even though it is no more than just a pile of objects in the storage room, or a collection of pictures or videos on the web, once the “metaphor-moment” is gone.
My (limited) artistic experience has led me to identify a number of concepts, processes and methods that for me are the most adequate to create these metaphor-moments: performance, chance, uniqueness, chaos, spontaneity, gesture. The search starts by making an unexpected gesture, a unique performance guided by chance and spontaneity, even a free fall into unknown and unexpected experiences. This is my base material: bits and pieces of actions and events, which can be then reconnected and assembled together, to create a new narrations and metaphors.
The interest in collage stems from the following observation: that our memory puts chance events together into a certain narrative. We look at our past, do everyday activities, look at an artwork, and we put things together, creating a history that connects these elements with our image of the present. There is an opposition and balance between chance and control, a constant interplay that has been permeating into my artistic interests and practice.
My practice also reflects this opposition between chance and control not only because of the themes I am setting to explore (performance, spontaneity, etc.) but also because of the medium I am using. As a media artist I see digital technology in general and computer programming in particular as the ultimate case of control: a computer process has to be specified down to the minutest detail and without any ambiguity in order to function properly. Computers were first created to calculate accurate simulations of the trajectory of missiles. Perhaps an outdated example, but valid as a metaphor nonetheless. However, computers also allow for the unexpected and for chance: interactivity and networks show this, and maybe in ways never imagined before. Again, the interplay between control and chance is at work.
I see my own artistic current practice and project developing in a two-modal process where skilled choices and chance gestures confront and dialog to each other. I think that precisely at the interstices between causal and casual is where the “metaphor-moments” take place.