A: Yes, the point is: how are we addicted to context, and manipulation of it (as media do on us?) so I think that the art must be (not only, instead) decorative, but also NOT design. Art is uncomfortable.
L: I really do always look for narrative in the art, don't I? I guess, from what you are saying, that 'comfortable art' might just be art being viewed out of context? Out of the setting/circumstances in which it can be most effective (whether or not the setting is of the artist's intentions).
A: I believe that the search for a narrative sequence is common to all human beings. It 'a form of evolutionary adaptation that serves to survival. I do not think that we choose to use this view, we are inclined to do so. About the word "comfortable", I have to explain. I think the design is comfortable: it has to "look after" the human being, coming to meet him. The art, however, often is "annoying": trying to get us out of our habits, our common ways of seeing, from our comfort zone. It has to communicate the right part with the left part of the brain. The context is another concept strongly rooted in our culture. An art gallery is a "context" that gives credit to the work of art. There are other contexts that give a different hint to understand art: think of those hanging on the walls of a restaurant. Finally, what about the works that, in the last century, usually break through the barriers and begin to permeate the network, or are "made" of shares, or collaborations? The art continuously goes beyond definitions and containers that we assign. If it does not, is not art but decoration.
A: First at all, thank you for your comments. I appreciate a lot, and it's very useful for me to have a feedback from someone like you. So, thanks, I hope I can send you something as soon as possible. Yes, you are right. The title of the serie is exactly what you mean. This is a good news. The other news (bad? Don't know) it is that I'm thinking about this fact that the title is a sort of contextualisering of the artwork. It is not just a problem for me, but also for all the contemporary artists. So, let's think about that...
L: I think the grey paper foundation does so much to make each composition a harmonious whole. The colors in the flowers bring life to them. I am wondering if this series is about approaching God? It's what it looks like to me, but I don't really know.
A: It is very interesting that, for our culture, our mind is in search of a narrative meaning of a work; and, in particular, from left to right. I think there are some mental forms in ourselves with which we have to compromise, as artists but also as public and observers. For the rest, you are right: I think the the flowers - metaphorically, the living matter, colored - is a vital turning. There is also a trascendent component, in the images... but the written parts come from a book about Second World War. So, we have the trascendent, the human decisions (also bad) and also the nature in her vitals forms - but not free as us. If this is a way to try to approaching the divinity... maybe yes.
L: Ciao Andrea! another really good series. As I viewed the 'Omens', I realized I couldn't decipher the code, again! Ha ha! the red tags mislead, lulling me into a false sense of happy. The creepy symbols and the little window views don't let me stay happy. As I go from one to the next, I feel like the scary music is getting louder and louder...
A: I love codes. I have an hobby, to listen shortwaves, coded messages, and try to decode them. In my videos, on my Youtube channel, often I use registration of shortwaves on Khz. In this particular artwork, I try to re-present the question of ours expectation for the future... so, the tarots... juxtaposed to natural elements, that are predictable in their life cycle. About scary music... why not ;)
L: The arrangements and colors are so playful.
A: Thank you. There is also another fact: the inscriptions are assembled so as not to be read, in Italian, as if they were a different language, or mispronounced.
L: I was thinking of that. I tried to translate, but got nowhere, so I assumed they were meant to be absurd or nonsensical.
* * *
Nessun commento:
Posta un commento