work
Aria dura per la finzione di uno scorcio urbano – Montreal + doppia linea temporale e intervalli
| category | Painting |
| subject | Architecture, Abstract, Landscape |
| tags | aria dura, montreal, linea temporale, musica |
| base | 90 cm |
| height | 60 cm |
| depth | 6 cm |
| year | 2020 |
Tough air with double time-line and intervals
The time-line is born from the interaction between the artist and chance.
The line is just an actual line, traced by the artist on the surface of the polycarbonate sheet, following a colour and a limited time obtained with casual procedures (usually the throw of one or more dices). The line follows the outline of the elements of the landscape in the painting, bringing together different elements (skyscrapers, streets, places, buildings, …) without taking into account the borders between one another and thereby creating homogeneous masses of the same colour.
In Tough air for the pretence of an urban view- Montreal I had to interrupt the first part of the landscape, which contained dark colours (blue, black, green, brown, gray) with lighter and more vivid colours. I therefore decided to use two different time-lines, a red one and an orange one, adding some gold at regular intervals to the first time-line.
The length of the lines was determined by some throws of dices (traditional dices with 6 sides and other variations), so the red one came out to be 4:01 minutes long, with intervals of 0:07 seconds; the orange line came out to be 2:64 minutes long, which means 3:04 minutes. Every 0:07 seconds I intervened and added gold details on the red line. After having terminated the lines, I kept on drawing the urban view with colours opposite to those used in the time-lines.
With regards to the canvas, I converted the duration of the time-lines in cm multiplying them by 10, in order to adapt the measures to the 90x60 cm canvas. Thereby, starting from the left side, I obtained a space of 40.1 cm to fill in with a red base, just like the first line, and another space of 30.4 cm to fill with an orange colour. The gold intervals of the red line would only convert to 0.7 cm, so I further multiplied them by 10 to obtain 7 cm. To be coherent, I added 10 cm to the red and orange area (5 cm each). In addition to that, I determined the width of the 7cm intervals with a random procedure and I decide to use complementary colours, but switched up (blue on red and green on orange) to paint the first quadrant, which therefore was red with gold and blue lines, while the second one was orange and green and the remaining space was green and blue. The time-line takes decision-making power away from the artist by creating an independent monochrome part of the landscape. The artist then has to integrate and interact in the construction of the rest of the art work, challenged by new and unexpected solutions.
The time-line is born from the interaction between the artist and chance.
The line is just an actual line, traced by the artist on the surface of the polycarbonate sheet, following a colour and a limited time obtained with casual procedures (usually the throw of one or more dices). The line follows the outline of the elements of the landscape in the painting, bringing together different elements (skyscrapers, streets, places, buildings, …) without taking into account the borders between one another and thereby creating homogeneous masses of the same colour.
In Tough air for the pretence of an urban view- Montreal I had to interrupt the first part of the landscape, which contained dark colours (blue, black, green, brown, gray) with lighter and more vivid colours. I therefore decided to use two different time-lines, a red one and an orange one, adding some gold at regular intervals to the first time-line.
The length of the lines was determined by some throws of dices (traditional dices with 6 sides and other variations), so the red one came out to be 4:01 minutes long, with intervals of 0:07 seconds; the orange line came out to be 2:64 minutes long, which means 3:04 minutes. Every 0:07 seconds I intervened and added gold details on the red line. After having terminated the lines, I kept on drawing the urban view with colours opposite to those used in the time-lines.
With regards to the canvas, I converted the duration of the time-lines in cm multiplying them by 10, in order to adapt the measures to the 90x60 cm canvas. Thereby, starting from the left side, I obtained a space of 40.1 cm to fill in with a red base, just like the first line, and another space of 30.4 cm to fill with an orange colour. The gold intervals of the red line would only convert to 0.7 cm, so I further multiplied them by 10 to obtain 7 cm. To be coherent, I added 10 cm to the red and orange area (5 cm each). In addition to that, I determined the width of the 7cm intervals with a random procedure and I decide to use complementary colours, but switched up (blue on red and green on orange) to paint the first quadrant, which therefore was red with gold and blue lines, while the second one was orange and green and the remaining space was green and blue. The time-line takes decision-making power away from the artist by creating an independent monochrome part of the landscape. The artist then has to integrate and interact in the construction of the rest of the art work, challenged by new and unexpected solutions.
