Progetto Instagram al.to.
Progetto Instagram al.to. (Instagram Project al.to.)
The real world enclosed within the lens of a smartphone, contextualized from new viewpoints. The unusual step, in the case of al.to., is that from pixel to acrylic paint. This is aligned with a dualism that takes as its starting-point a highly popular, democratic technology, and shows how it can be a vehicle for art. A triangle involving three players: the real, random image, the shooting of an iger with an Instagram, which becomes random and provides the inspiration for al.to., and the artist’s personal, pictorial slant on it. A commonplace, if genial, app with which many users have discovered themselves photographers by chance, able to share their snaps at a fantastic speed, becomes, for al.to., a historical oxymoron. Working in a completely opposite direction, he makes the transformation from the photographer, in itself a new and different vision of reality, to the pictorial rendering, a slow process passing through a further personal input. The instinct remains, but there is also the intention to investigate the relationship between new technologies and art, though using an anachronistic paradox which supplies the base for the originality of al.to. While, historically speaking, the link between art and photography moved from canvas to plate and then to film, and today makes use of the pixel, the artist has reversed the process. Starting with the pixel, he translates it to the canvas. The computer-defined image, with its inherent loss of information, is enriched by the acquisition of new information, no longer technological but emotional.
The real world enclosed within the lens of a smartphone, contextualized from new viewpoints. The unusual step, in the case of al.to., is that from pixel to acrylic paint. This is aligned with a dualism that takes as its starting-point a highly popular, democratic technology, and shows how it can be a vehicle for art. A triangle involving three players: the real, random image, the shooting of an iger with an Instagram, which becomes random and provides the inspiration for al.to., and the artist’s personal, pictorial slant on it. A commonplace, if genial, app with which many users have discovered themselves photographers by chance, able to share their snaps at a fantastic speed, becomes, for al.to., a historical oxymoron. Working in a completely opposite direction, he makes the transformation from the photographer, in itself a new and different vision of reality, to the pictorial rendering, a slow process passing through a further personal input. The instinct remains, but there is also the intention to investigate the relationship between new technologies and art, though using an anachronistic paradox which supplies the base for the originality of al.to. While, historically speaking, the link between art and photography moved from canvas to plate and then to film, and today makes use of the pixel, the artist has reversed the process. Starting with the pixel, he translates it to the canvas. The computer-defined image, with its inherent loss of information, is enriched by the acquisition of new information, no longer technological but emotional.
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