Gianna Bentivenga
£0.00
I would like one day to brush against sheets of paper inhabited by mold spores and witness the faint noise each fragment creates, slowly crumbling between my fingers.
There was a moment when I realized that I had a deep attraction to everything that decays, abandoned, dilapidated. As if all these components gave me a kind of reconciliation with reality. A reality made exactly of its past, lived and not of static, artifactual immobility. A democratic reality, uniting everything and everyone in its unfolding. A reality dictated by slow fragments of time that continue to speak even after decades.
Fascinated and increasingly intrigued by the state of things and their becoming, for some time now my attention and interest have turned to the concept of change, transformation, directed toward the consideration of decay and disintegration.
My research was born from a rather logical and in some ways obvious reflection. Since the earliest years, art has represented perhaps the only means of being able to eternalize symbols and traces of life that have followed one another over the centuries.
A kind of simulacrum to sing the periodic journey of man with the will to make it eternal, but with the awareness that every form of art is a reflection of existence, so it too is subject to transformation, change, decomposition, disappearance.
It is from this basic contradiction that my journey began and, wanting to represent this aspect in toto, meant searching for an unstable and contaminated support that would complete the concept of deterioration. What worse enemy of paper than mold?
Mould and oxidation are often present in my works to emphasise the state of change of things and their decay
Quantity:
I would like one day to brush against sheets of paper inhabited by mold spores and witness the faint noise each fragment creates, slowly crumbling between my fingers.
There was a moment when I realized that I had a deep attraction to everything that decays, abandoned, dilapidated. As if all these components gave me a kind of reconciliation with reality. A reality made exactly of its past, lived and not of static, artifactual immobility. A democratic reality, uniting everything and everyone in its unfolding. A reality dictated by slow fragments of time that continue to speak even after decades.
Fascinated and increasingly intrigued by the state of things and their becoming, for some time now my attention and interest have turned to the concept of change, transformation, directed toward the consideration of decay and disintegration.
My research was born from a rather logical and in some ways obvious reflection. Since the earliest years, art has represented perhaps the only means of being able to eternalize symbols and traces of life that have followed one another over the centuries.
A kind of simulacrum to sing the periodic journey of man with the will to make it eternal, but with the awareness that every form of art is a reflection of existence, so it too is subject to transformation, change, decomposition, disappearance.
It is from this basic contradiction that my journey began and, wanting to represent this aspect in toto, meant searching for an unstable and contaminated support that would complete the concept of deterioration. What worse enemy of paper than mold?
Mould and oxidation are often present in my works to emphasise the state of change of things and their decay
I would like one day to brush against sheets of paper inhabited by mold spores and witness the faint noise each fragment creates, slowly crumbling between my fingers.
There was a moment when I realized that I had a deep attraction to everything that decays, abandoned, dilapidated. As if all these components gave me a kind of reconciliation with reality. A reality made exactly of its past, lived and not of static, artifactual immobility. A democratic reality, uniting everything and everyone in its unfolding. A reality dictated by slow fragments of time that continue to speak even after decades.
Fascinated and increasingly intrigued by the state of things and their becoming, for some time now my attention and interest have turned to the concept of change, transformation, directed toward the consideration of decay and disintegration.
My research was born from a rather logical and in some ways obvious reflection. Since the earliest years, art has represented perhaps the only means of being able to eternalize symbols and traces of life that have followed one another over the centuries.
A kind of simulacrum to sing the periodic journey of man with the will to make it eternal, but with the awareness that every form of art is a reflection of existence, so it too is subject to transformation, change, decomposition, disappearance.
It is from this basic contradiction that my journey began and, wanting to represent this aspect in toto, meant searching for an unstable and contaminated support that would complete the concept of deterioration. What worse enemy of paper than mold?
Mould and oxidation are often present in my works to emphasise the state of change of things and their decay
