HUMANESCAPE :  Statement             Artwork

Title: Humanescape
Type: Photo installation for European Photography 2012
Technique: Mixed media (models, body painting, head cap)
Year: 2012

Humanescape certainly marks an important step in my way of creating art; if in the past the focus of my analytical eye was on the modification of the individual, cosmetic surgery – with the Cyborg Face project – and GMOs – with the Woodland project – in this project I chose to focus my attention on the world itself and the landscape which surrounds human beings. Its genesis dates back to sketches and drawings that I started to produce long before, back in 2008, when I was trying to rework the conceptual and formal vision of photography, which is usually divided into landscape and portrait.
The twelve images that make up the project are views, landscapes, that present elements of the contemporary world around us, that society is forced, willingly or not, to face the problems with which it has to deal: waste, toxic waste, civil protest and hardship caused by unemployment, lack of freedom and loneliness, the spectacle of violence and the debate on what is socially acceptable. The human figure, which we recognize within them, almost as part of the landscape, is present but distorted, painted white, without connotations and imprisoned by this landscape, bound, immobilized and powerless. The woman is an ever-present element in my work and in this case assumes the role of a representation of the contemporary individual, completely immersed in a representation of a fake reality. The only natural element within the compositions, her being naked, white and hairless, stripped of her ethnic-social origin transforms her into a symbol and gives the viewer the possibility to develop a feeling of identification.
It is a work through which I propose my own poetic interpretation of reality but which at times is also chilling. The playful element, its chromatic and aesthetically pleasing composition is combined by a deep restlessness that makes it almost useless but at the same time indispensable: the game is the way to learn the world but also the way to tell it.

Title: Humanescape
Type: Photo installation for European Photography 2012
Technique: Mixed media (models, body painting, head cap)
Year: 2012

Humanescape certainly marks an important step in my way of creating art; if in the past the focus of my analytical eye was on the modification of the individual, cosmetic surgery – with the Cyborg Face project – and GMOs – with the Woodland project – in this project I chose to focus my attention on the world itself and the landscape which surrounds human beings. Its genesis dates back to sketches and drawings that I started to produce long before, back in 2008, when I was trying to rework the conceptual and formal vision of photography, which is usually divided into landscape and portrait.
The twelve images that make up the project are views, landscapes, that present elements of the contemporary world around us, that society is forced, willingly or not, to face the problems with which it has to deal: waste, toxic waste, civil protest and hardship caused by unemployment, lack of freedom and loneliness, the spectacle of violence and the debate on what is socially acceptable. The human figure, which we recognize within them, almost as part of the landscape, is present but distorted, painted white, without connotations and imprisoned by this landscape, bound, immobilized and powerless. The woman is an ever-present element in my work and in this case assumes the role of a representation of the contemporary individual, completely immersed in a representation of a fake reality. The only natural element within the compositions, her being naked, white and hairless, stripped of her ethnic-social origin transforms her into a symbol and gives the viewer the possibility to develop a feeling of identification.
It is a work through which I propose my own poetic interpretation of reality but which at times is also chilling. The playful element, its chromatic and aesthetically pleasing composition is combined by a deep restlessness that makes it almost useless but at the same time indispensable: the game is the way to learn the world but also the way to tell it.

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