Reconstructing Memory[S]

Reconstructing Memory[S] is a long term project that addresses History(ies) making.

Starting from family stories, Reconstructing Memory[S] assumes the necessary acknowledgment of personal involvement to honestly and efficiently reconstruct the memories that are transmitted generation after generation. Relying on testimonies and historical archives, the project uses primarily painting and photography to make visible untold histories.

I am currently developing Le Maschere Nude as part of the whole project.

Le Maschere Nude (2015-)

In Residence @ Museo CAV La Neomudéjar Madrid. November 2015-February 2016 (inclusive)

come_tu_mi_vuoi_withXRAY — Come tu mi vuoi, 2016

sketch (drawing on partially unwoven canvas), 2015

Memory[S]

The notion of memory is envisaged from both a physical and a mental point of view. Memories can be visible on the body as events leave their traces on human beings’ skins. The materiality of art practice can reflect and resonate with the altered body as it deconstructs an individual’s memory to rephrase it through a narrative that involves images, sounds and words, but also scores, sketches and the documentation of the creative processes.

The mind processes what the individual’s body experiments and engages with a transformative process, which echoes that of the body. This transformative process allows the individual to engage with reconstruction.

L'uomo dal fiore in bocca, 2015 — L’uomo dal fiore in bocca, 2015

Fragmentation

Both the notion of memory and the creative process lead to the concept of fragmentation, which is envisaged not only as a mere consequence of events, but as the very nature of the human being whose individuality is significantly determined by the different levels of his/her perception of his/her context. This plurality in perception involves a multi-layered memory in both contents and form, which subsequently contributes to construct a fragmented, complex individual. This project explores the evolution of the fragmented individual as s/he goes through historical and social contexts that inflect his/her personality.

This aspect of the project feeds into a research on the potential of the investigation of individual cases to progressively build a collective and composite memory.

Why integrating X-rays

The use of x-rays relates to the hurt-fragmented body but also to the process of painting restoration. X-rays allow seeing what’s invisible from the outside. The embodiment of the untold is operated by means of a painting process that transforms aspects of restoration methods into a creative process. In so doing, the painted layers conceptualize both the hidden story and the reconstruction process.