work
Montagne (Google Earth view)
| category | Painting |
| subject | Landscape, Nature |
| tags | |
| base | 188 cm |
| height | 198 cm |
| depth | 4 cm |
| year | 2012 |
Montagne (Google earth view) mud, ochre soil, caolino, reseda luteola, isatis tinctoria , bark mordant vegetal juyces
on canvas, cm 198 x 188 cm, 2012
“…I'm working on a new cycle,where views, plans taken from digital images are rendered through the juice, the extracts, the mud, the clays, the barks and the pigments that make up the real landscape and which I mostly collect alone.
In this work two visions of landscape converge: one digital, global, cold and one local and experienced directly, mine.
A distant landscape seen from above and a private and interior one, traveled on foot.
A reflection on the aesthetics of the landscape increasingly characterized by the disappearance of reality.
The work was born by observing on Google the bird's eye view of the places where I live and work, they looked like informal paintings or ancient bird's eye views with something mechanical and synthetic…”
from the text for Observation of nature in a state of stillness, edited by Paola Bortolotti, Museo Marino Marini, 2012
The series of bird's eye views of landscapes taken from digital programs such as Google Earth and painted with materials and pigments that I collect in the real landscape, recalls the eighteenth-century technique of grass juices, painted with natural pigments on rough canvas that were often used as sacred vestments.
The images of technology shapes our aesthetics of the landscape a bit like the engravings taken from the paintings of the great landscapers shaped the aesthetics of their age.
Our dreams, our visions and perceptions are increasingly based on virtual reality. In the end, no place really corresponds to that image, yet that image defines our way of perceiving, of seeing the world.
I've thought of returning to the digital vision the juice of the plants, of the berries, of the barks, the traces of the clays of which those landscapes are composed.
Thanks to this work, I have begun to regain my knowledge of the mineral and vegetable world, to recognize edible plants that I use in the kitchen and others from which pigments can be drawn such as heather or the rubia peregrina, I've learnead to preserve the seeds and to cultivate in my garden some ancient dyeing plants such as woad and reseda.
on canvas, cm 198 x 188 cm, 2012
“…I'm working on a new cycle,where views, plans taken from digital images are rendered through the juice, the extracts, the mud, the clays, the barks and the pigments that make up the real landscape and which I mostly collect alone.
In this work two visions of landscape converge: one digital, global, cold and one local and experienced directly, mine.
A distant landscape seen from above and a private and interior one, traveled on foot.
A reflection on the aesthetics of the landscape increasingly characterized by the disappearance of reality.
The work was born by observing on Google the bird's eye view of the places where I live and work, they looked like informal paintings or ancient bird's eye views with something mechanical and synthetic…”
from the text for Observation of nature in a state of stillness, edited by Paola Bortolotti, Museo Marino Marini, 2012
The series of bird's eye views of landscapes taken from digital programs such as Google Earth and painted with materials and pigments that I collect in the real landscape, recalls the eighteenth-century technique of grass juices, painted with natural pigments on rough canvas that were often used as sacred vestments.
The images of technology shapes our aesthetics of the landscape a bit like the engravings taken from the paintings of the great landscapers shaped the aesthetics of their age.
Our dreams, our visions and perceptions are increasingly based on virtual reality. In the end, no place really corresponds to that image, yet that image defines our way of perceiving, of seeing the world.
I've thought of returning to the digital vision the juice of the plants, of the berries, of the barks, the traces of the clays of which those landscapes are composed.
Thanks to this work, I have begun to regain my knowledge of the mineral and vegetable world, to recognize edible plants that I use in the kitchen and others from which pigments can be drawn such as heather or the rubia peregrina, I've learnead to preserve the seeds and to cultivate in my garden some ancient dyeing plants such as woad and reseda.
