Cromia privata della polvere
Cromia privata della polvere, 2019, latex and pigments, 26,5 x36 cm.
The natural latex extracted from the rubber tree, which is found on the market as chemically stabilized by ammonia, is commonly applied to many fields: from dentistry to mechanics, from eroticism to construction.
The contradiction between the natural and artificial elements, embodied in the material itself, is shown through the analogy and the discordance between visual recognition and tactile narration.
The natural latex extracted from the rubber tree, which is found on the market as chemically stabilized by ammonia, is commonly applied to many fields: from dentistry to mechanics, from eroticism to construction.
The contradiction between the natural and artificial elements, embodied in the material itself, is shown through the analogy and the discordance between visual recognition and tactile narration.
The contradiction between the natural and artificial elements, embodied in the material itself, is shown through the analogy and the discordance between visual recognition and tactile narration.
The gaze grasps a sort of rigidity that is actually non-existent to the touch.
Read-through fingerprints, solid at first glance, unfold to be elastic, leaving an open and tangible discovery to the experimentation itself.
Shellac flakes, veins from the work table, narrate the private studio space, and the daily used materials. This book-object finally discloses by bringing the secrets of that same place and moment of work on the surface for alleged readers to recall. The book becomes an intermediary between the interior of the studio and the external perspective of the spectator.
The gaze grasps a sort of rigidity that is actually non-existent to the touch.
Read-through fingerprints, solid at first glance, unfold to be elastic, leaving an open and tangible discovery to the experimentation itself.
Shellac flakes, veins from the work table, narrate the private studio space, and the daily used materials. This book-object finally discloses by bringing the secrets of that same place and moment of work on the surface for alleged readers to recall. The book becomes an intermediary between the interior of the studio and the external perspective of the spectator.
Read-through fingerprints, solid at first glance, unfold to be elastic, leaving an open and tangible discovery to the experimentation itself.
Shellac flakes, veins from the work table, narrate the private studio space, and the daily used materials. This book-object finally discloses by bringing the secrets of that same place and moment of work on the surface for alleged readers to recall. The book becomes an intermediary between the interior of the studio and the external perspective of the spectator.