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At the ends, it is a sound installation, in which my breath is amplified in a loop to act as the background for the completion of the installation.

 

A year ago, I took part in the Contemporary Art Review, starting this ongoing project, which began by chance, with a jar of turpentine placed on a piano in the room where I paint: from a damaged paint, from the will to create something new and different following damage. This project was born from the desire to sublimate pain.

Silently and continuously I have tried to carry out a meditative work that investigates interiority and a sort of clearing of an inner pain within an installation.

A solitary and nocturnal work, therefore, this sound installation underlines the silence that subtly underlies within a work of art and a solitary work, such as painting.

 

The theme of the review is the body, however, I didn't want to represent the body didactically by portraying it in a nude, I wanted to relate it to an object, to music, which necessarily needs people who play the instruments to reproduce it, a sound performance, foresees an interaction of the body in an interaction between body and object, between musicians and audience.

What will then remain, the breath, is an idea born from a reflection on a work that I had seen in 2011 in Topolò, in which, in headphones there was a reading of a poem that said "it is the voice that brings us, the voice more than the face, it is the body, more than the body is the breath ", conceived by the Piccola Officina del Teatro: this work had left me very impressed and I thought I could quote it to understand the modus operandi that exists it is inside a work of art: the breath, the silence, where, however, the breath is part of the body. There may be a further reference to a work by Regina Galindo which was exhibited a few years ago at the PAC in Milan, this artist often works on the body and also on body traumas: in this work, she was portrayed while breathing on a mirror and this mirror fogged up; he was in a state of apparent death, because he was subjected to anesthesia and his 'being alive' could only be seen through this mirror that blurred with his breath.

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