opera
“Would you like a cup of me?” series – The Elephant in the Living room
| categoria | Scultura |
| soggetto | Politico/Sociale, Figura umana, Architettura |
| tags | display, living room, convivium, pottery, crockery, tableware, weight, leggerezza, props, set design, coquettish, tea set, temporary, cement, concrete |
| base | 19 cm |
| altezza | 17 cm |
| profondità | 30 cm |
| anno | 2025 |
MEDIA: foam rubber, acrylic spray.
“Cement is made of limescale, clay and water.
Only adding rubble, the so-called artificial stone, becomes concrete.
During the smoothing process the gravel remains shiny, creating endless mirrors embedded in the opaque material.
The specific weight of cement is determined by clay (or this is what they say about it), the most malleable material, permeable and fragile "
And the weight of mirrors? How is it counted?
Misleading perception objects as symbols of mutual exchange within common social situations, imagined in an outlandish living room as playground for interpersonal communications.
They are all containers, of parts of ourselves too.
A sort of metonymy between the poured drink by someone into someone else's cup and the message that the gesture conveys.
Cement sculptures made of foam rubber.
Their effective weight is declared: a number impressed like a given label, which, on the contrary of what a social label usually does, recalls the lability of its essence.
The physical meaning of the word weight has been replaced with its figurative one, harder to quantify since conditioned by internal and external reasons. Weight as attribution of different meaning, value or gravity to words and actions by each human being.
An attempt to show the hidden social operation we do to make things digestible for a public audience.
An attempt to tell how each thing can be perceived differently by the actors interacting with it.
To tell how a gaze determines not only a different reading but also a new version of it, each time conditioned by that gaze.
The nature of these objects is deliberately occasional, for temporary installations, not written in (artificial) stone, their finishing is not stable (the porose material gradually absorbs the color unpredictably) and their meaning are open, can be different in the next “encounter”, as much as interpersonal communications and relationships can be.
At one point the research took a an evolutive direction: the objects were put in the hands of other people so they could be experienced by them, the result is a work in progress group of micro performances. Each of them reveals something new.
Performer in the frames: Anhaì Traversi.
“Cement is made of limescale, clay and water.
Only adding rubble, the so-called artificial stone, becomes concrete.
During the smoothing process the gravel remains shiny, creating endless mirrors embedded in the opaque material.
The specific weight of cement is determined by clay (or this is what they say about it), the most malleable material, permeable and fragile "
And the weight of mirrors? How is it counted?
Misleading perception objects as symbols of mutual exchange within common social situations, imagined in an outlandish living room as playground for interpersonal communications.
They are all containers, of parts of ourselves too.
A sort of metonymy between the poured drink by someone into someone else's cup and the message that the gesture conveys.
Cement sculptures made of foam rubber.
Their effective weight is declared: a number impressed like a given label, which, on the contrary of what a social label usually does, recalls the lability of its essence.
The physical meaning of the word weight has been replaced with its figurative one, harder to quantify since conditioned by internal and external reasons. Weight as attribution of different meaning, value or gravity to words and actions by each human being.
An attempt to show the hidden social operation we do to make things digestible for a public audience.
An attempt to tell how each thing can be perceived differently by the actors interacting with it.
To tell how a gaze determines not only a different reading but also a new version of it, each time conditioned by that gaze.
The nature of these objects is deliberately occasional, for temporary installations, not written in (artificial) stone, their finishing is not stable (the porose material gradually absorbs the color unpredictably) and their meaning are open, can be different in the next “encounter”, as much as interpersonal communications and relationships can be.
At one point the research took a an evolutive direction: the objects were put in the hands of other people so they could be experienced by them, the result is a work in progress group of micro performances. Each of them reveals something new.
Performer in the frames: Anhaì Traversi.
