Venuto al modo | Came to a way
Venuto al modo / Came to a way
The literal translation of “Venuto al modo” is “Came to a way”. In Italian it is a sort of poetical licensed wordplay which is half way between “just born” and “born this way”. Venuto al modo represents the start of an artistic and spiritual research project. This research has a far-reaching origins over time and has roots related to a period of almost ten years. Now the project has found the right technical, narrative and linguistic context in which to begin its journey of life in freedom again.
The works are carried out following the digitalization of "Washi" film: medium-sized monochromatic orthochromatic negatives realized through the sensitization of Kozo 28gr / sqm Japanese paper strips. The strips are developed by the author on-site: the project is realized into the heart of the Alps, into the valley of Rhêmes Notre-Dame (Aosta – Italy).
The concepts to which this project is linked are among others: truth, speculation, vulnerability, memory, failure and mountain.
Truth - There is no truth, there is no way.
From the point of view of the construction of language, each work is conceived as a text developed in accordance with the formula of Japanese vertical classical writing: each strip of film is a vertical text line and embedded images are the only intelligible form of organized writing, such as a hypothetical and arbitrary sequence of kanji and kana. The eye therefore undergoes a forced inversion of the path: vertically, from top to bottom, from the top to the truth. However, it is not possible to define with certainty the boundaries of the true dimension: objects become confused, places vanish, meaning is blurred and vibrant, abstract and free from absolute and direct meaning. In this sense, the concept of truth and way is also questioned by the process of digitization: from the actual impression on analog film to the manipulation of digital intervention. The purpose: to create arbitrarily structured text in a poetic sense form. By coming to the way everything is, or was, real (the experience, the process, the things and the places) yet nothing is, or was, true (the experience, the process, the things and the places).
Speculation - an inadequate project: anyone who sees understands everything.
Into Venuto al modo the eye does not have to "add" anything to understand the meaning. To understand the meaning, or to understand everything, the eye must look through a fracture. Came to the way is a sort of uncertain form of circumstance interruption where the act of traditional vision is interrupted by the vertical dimension that opens to the practice of emotional risk related to the dilation of the dark. Like these lines of text, the strips also undergo somehow a dynamic of coercive speculation: the language tools, here the picture (the frame, the reiteration as a textual element, the reiteration as a film element, the panning, the blurred , the reversal, the composition, the tones) in the service of the communicative purpose here without a real point of reference unless the only hypothesis of the contextual presence of the work and of its user: whoever looks, in fact, understands everything.
Vulnerability and failure - the sense blows.
Suddenly comes the sense, it blows, it bangs: this is a project vulnerable to perception beyond vision. Vulnerability, therefore, as a measure of courage, as an act of resilience and as a condition for adapting to the change of things. Into Venuto al modo, this quality of human being is also investigated thanks to the connection with technical vulnerability: on the one hand the material footprint of the support and the other on the nature of orthochromatic film. This last aspect is decisive: take off spectrum to see more. The film is particularly vulnerable to the resumption of landscapes because it is not sensitive to the red spectrum of reds and greens. This inadequateness related to the imposed use makes it extraordinarily effective as it moves the limits of its incisiveness. In this respect, the practice of cruelty and poetics, of induction to error (technical, linguistic and narrative) is added as an instrument of freedom, evolution and expansion of perception, in a logic of struggle for the sense of norm and control by the limited authority exercised by the author. It is therefore about learning the renunciation. To give up the spectrum, give up the frames, give up the direct sense, give up the representation, and ultimately renounce the rhetoric of the (high)fidelity of the images: while making it, intimately deny the photo-graphy and fail with grandeur.
Memory and mountain - ask an artist to deal with his own shame and he will produce his greatest work. Or at least, that's what he will pretend to believe.
Venuto al modo is the joyful ritual of the transfiguration of reality and, once again, of memory. This project is (and will continue to be) realized into the high valley of Rhêmes (Aosta - Italy). On the east wall of the small church of Rhêmes Notre-Dame village, next to the main entrance, there is a stone plate well laid out in the wall that recites: Ici reposent dans le Seigneur les derniers des authentiques Zemoz de Rhêmes N. Dame [... ] Passants semez une prière pour nous elle reaîtra un jour pour vous (Here rest in the Lord the last of the authentic Zemoz of Rhêmes N. Dame [...] Passers sow a prayer for us she reatre one day for you). The last. The Authentic. To take certain stories seriously, I may not what I am and I might be what I am not. If so, then I give up: I do not exist. Here it remains only the desire to meet the other: the mountain and its rhetoric of verticality, not so much the one that brings you up, or that brings you beyond, but rather the one that brings you down, on the inside. Here is again, for the last time, the contextual presence of the work and its user, in the happy illusion: the one who looks, in fact, understands everything.