Body Identities #11
Rayograph Project is a personal story developed through Shapes. It focuses on our needs to restrain the limitless Reality (and the classical concept of panic included in it) into the edges of our deep, unconscious though reliable Images. This aim is achieved by two inseparable and complementary means: Logos and Téchne.
Our investigation has a poetic attitude, but it also concerns the mastering and shifting of an old vanishing Italian know-how, mixed up with new technologies.
Luigi: my purpose is to retrieve some ancient photographic techniques in opposition to the overflowing of a low-quality digital market production. I set my research on their hidden potential in order to find new formulas.
Daniela: although we come from different worlds and experiences, we both seek for the touch of the “Undefined”. We don’t simply express our ideas through similarities. We work on dichotomies: fullness-emptiness, movement-stillness, lightness-heaviness…
Luigi: The use of the Pinhole camera highlights the uncertainty of each human being, the difference between living and existing.
Objective time can be defined as metronomic, meanwhile subjective time drifts and clumps, corrupting our perception. Seconds switch onto months. Our thoughts are mostly winding, lonely talks. Time passes by without traces, dull lives are silent. The Pinhole camera catches the opposition between the stillness of buildings and the evanescence of human bodies.
This action becomes a metaphor of our life-streaming, and at the same time a mirror reflecting our interior world.
Daniela: As an architect I have the privilege to combine multi-disciplines: art, philosophy, history, design…
At first inspired by the Wunderkammern (weird spaces where dead and surreal stuffs were recollected, in opposition to the flowing of real life) I borrowed the dreamlike suggestions to create shells and insect cocoons where my Identity could take shelter.
Precious contemporary fabrics give me the chance to work on very complex structures: bones, spines, shells. Transparency highlights the hard making of.
As metamorphosis comes by, the representation turns into the analysis of a human radiography: no more cocoons, but the evidence of the body, like the experimental Rayograms of Moholy-Nagy and Man Ray. This is a sort of Kafka’s short story switching into an optimistic vision.
Our body is like a mechanism, the deep knowledge of sartorial techniques gives me further inspiration.
The dimension of an act in space changes my vision.
My interpretation of an object is the synthesis of a movement.
One of the main theme I focus on, is a purely architectural one: the Double-Skin design, brutalism and structure coated by glass.
I underline the evidence of the inside-out, as found in Jean Nouvel’ s masterpieces.
Unusual sculptural volumes are wrapped around a linear shape, creating two independent objects.
Light dresses resemble the dried skin of insects and reptiles, when abandoned.
Identity becomes proudly visible, investigated, naked, overexposed.
Luigi: our researches match perfectly… I have been immediately involved in the project. Since that the creations are partly inspired by early ‘900 artistic movements (Bauhaus, Man Ray) I borrowed the idea to represent them through off-camera experiments, placing objects and clothes directly onto the surface of a light-sensitive material such as photographic paper and then exposing them to light.
Scientific radiograms have the purpose to reach a diagnosis by the deep investigation of human bodies and structures, as well as Rayographs at the same time expresses the core of our unconscious depths.
If we consider the relentless increasing of entropy in our world, this sole attitude allows us to disclose layers and layers of trash, superstructures, pollution and wastes and find an echo of our self-consciousness.
Our investigation has a poetic attitude, but it also concerns the mastering and shifting of an old vanishing Italian know-how, mixed up with new technologies.
Luigi: my purpose is to retrieve some ancient photographic techniques in opposition to the overflowing of a low-quality digital market production. I set my research on their hidden potential in order to find new formulas.
Daniela: although we come from different worlds and experiences, we both seek for the touch of the “Undefined”. We don’t simply express our ideas through similarities. We work on dichotomies: fullness-emptiness, movement-stillness, lightness-heaviness…
Luigi: The use of the Pinhole camera highlights the uncertainty of each human being, the difference between living and existing.
Objective time can be defined as metronomic, meanwhile subjective time drifts and clumps, corrupting our perception. Seconds switch onto months. Our thoughts are mostly winding, lonely talks. Time passes by without traces, dull lives are silent. The Pinhole camera catches the opposition between the stillness of buildings and the evanescence of human bodies.
This action becomes a metaphor of our life-streaming, and at the same time a mirror reflecting our interior world.
Daniela: As an architect I have the privilege to combine multi-disciplines: art, philosophy, history, design…
At first inspired by the Wunderkammern (weird spaces where dead and surreal stuffs were recollected, in opposition to the flowing of real life) I borrowed the dreamlike suggestions to create shells and insect cocoons where my Identity could take shelter.
Precious contemporary fabrics give me the chance to work on very complex structures: bones, spines, shells. Transparency highlights the hard making of.
As metamorphosis comes by, the representation turns into the analysis of a human radiography: no more cocoons, but the evidence of the body, like the experimental Rayograms of Moholy-Nagy and Man Ray. This is a sort of Kafka’s short story switching into an optimistic vision.
Our body is like a mechanism, the deep knowledge of sartorial techniques gives me further inspiration.
The dimension of an act in space changes my vision.
My interpretation of an object is the synthesis of a movement.
One of the main theme I focus on, is a purely architectural one: the Double-Skin design, brutalism and structure coated by glass.
I underline the evidence of the inside-out, as found in Jean Nouvel’ s masterpieces.
Unusual sculptural volumes are wrapped around a linear shape, creating two independent objects.
Light dresses resemble the dried skin of insects and reptiles, when abandoned.
Identity becomes proudly visible, investigated, naked, overexposed.
Luigi: our researches match perfectly… I have been immediately involved in the project. Since that the creations are partly inspired by early ‘900 artistic movements (Bauhaus, Man Ray) I borrowed the idea to represent them through off-camera experiments, placing objects and clothes directly onto the surface of a light-sensitive material such as photographic paper and then exposing them to light.
Scientific radiograms have the purpose to reach a diagnosis by the deep investigation of human bodies and structures, as well as Rayographs at the same time expresses the core of our unconscious depths.
If we consider the relentless increasing of entropy in our world, this sole attitude allows us to disclose layers and layers of trash, superstructures, pollution and wastes and find an echo of our self-consciousness.
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