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©2019 by kamimani.com

TEXTURE

Sensory four-handed project, where the user interacts with images and sound. The work celebrates the illusion of form, symbolically enclosing death, in a perpetual cycle that recalls the spectacular eruption of life.

Site-specific installation
Wood chairs, light projections and sound connections
 

Collaboration with Alessandro Brizio

for 6 DI SABBIA, project by Francesco Petrone

 

curated by Alessia Carlino

SpazioY - Roma

- È chiaro come il rovello sull’origine della forma dell’architettura sia strettamente legato alla mimesi. Il meccanismo di sostituzione dei corpi con gli elementi è inequivocabilmente un meccanismo mimetico. Hersey, come Vitruvio, cerca la soluzione dell’enigma di Valéry nella ancestrale ritualità del popolo greco. Restano, tuttavia, aperte due questioni. La prima riguarda il legame con la mimesi, ossia capire se questo legame si può esaurire nel meccanismo sostitutivo o si allarga ad altri piani simbolici. La seconda concerne il rapporto che l’origine sacrificale ha instaurato con l’architettura di età moderna nella sua riaffermazione della dottrina mimetica. -  Giorgio Pigafetta

On the occasion of the fifth episode at Spazio Y, Texture installation founds a sensory language, intended to celebrate the illusion of form, to symbolically contain death in a never-ending cycle, which refers to the spectacular irruption of life.

Which kind of relationship occurs between the object and the human being? Which dialectic originates the appropriation of a mimetic relationship
between the subject and the heterogeneous elements of a static nature?
The object is silent, a silence which carries us off the cumbersome and rowdy context of reality. The object converts into a fetish of a phenomenal isolation, which brings man back to the origin of shape. A series of hung chairs, which merge from a dreamlike alterity, narrate a vital cycle, a correlation of intersections where we perceive the subjective disillusion of the world.
Grazia Amendola represents the empirical evidence of reality through the chair, beyond the look, beyond any misleading appearance, the artist generates a dialogue, a seductive harmony made of shadows and lights, of the matter which, fleetingly, tells about a secret interaction, an hidden weave, a texture which crystallizes the principle of dispersion characterizing our current days. The sand covers the wood, highlights its veining, and draws the plastic dedication of every single inanimate element. Through the siliceous sedimentation, the mimetic asset becomes an achievement and restores the ancestral fascination of silence, of the inorganic object.
- It was a white thing, of the most pure whiteness; polished and hard, and smooth, and light. It shone in the sun, I took it up; I blew upon it; I rubbed it against my cloak, and its singular shape suspended all my other thoughts. -
Paul Valéry, Dialogue between Socrates and Phaedrus
There are different chairs, everyone with its own morphological characteristics, everyone with its own heterogeneous dimension, which seems to describe the different ages of the human being. Chairs which accommodate, and which are designed with the sole aim of giving hospitality to human appearance; static objects but yet which have suffered since their conception the oscillation of specific weights, the unperceivable vibrations of a body. Both function and decoration, attribute and intended use: the object narrates paths, identifies thoughts, and describes the suspended time, which is no more innate to reality, but assumes the appearance of a metaphysical dimension, going beyond the tangibleness of the objective world.

Photo Elisa Rinaldi

Alessandro Brizio, thanks to his sound and visual contribution, the intervention acquires an innovative kind of texture; the sound generates a synesthesia, the roar of sand used for camouflaging the chairs originates a musical score created by chance, what Castel at the beginning of the XVIII century defines “music for the eyes”. The interaction between object, light and sound forms an original composition, an intervention where the phonetic artifice allows simultaneously the construction of a vision of images to be listened to. In the darkness of the room, the synesthetic complex assumes the connotation of a polysemous relationship: the spectator, surprised by sounds and lights mapping, interacts with the surrounding space, thus building a changing dimension. This is the result of a force,  which is basic to the union between individuals and is the very essence of a collective image, symbolizing the evolution and change of the species.
Amendola and Brizio, consequently to their multidisciplinary interaction, create an innovative sensory language, a visionary architecture intended to celebrate the illusion of the form, to symbolically contain death, in a never-ending cycle which refers, ultimately, to the spectacular irruption of life.