La serie: Nella mia foresta – Tree-dimensional project

Tree-dimensional project (TDP-011) 2013 cm 42×34

This work was born out of the desire, beyond the play on words used to define it, to close (or resolve) the project with a sort of distortion and modified re-emergence corresponding to its

original purpose and vision. By means of a, so to speak, circular process, the work started from the engravings on paper, which through their implementation brought to life a new

vision. It was thus possible to embody the vision through the use of so-called voluminous materials (ceramics, bronze, aluminium) in order to portray a real world (or concrete) perception.

Tree-dimensional project (TDP-032) 2014, lightbox, cm 132×97

The focus was on a rather intimate approach to the work, through more evocative creations (the hidden landscapes) and then a return to the originating principle, that is, the concluding work of the printed sheets. We thus arrived at a revival of the flat appearance, with respect to which the visual distortion, always present in my work, was achieved through a perceptual disturbance originating in the stereoscopic aspect of the work (3D prints). The physical encumbrance that I strived to recreate through these last

works, however, relies almost completely on the mental nuances of observation. The interpretation of the work requires the indispensable participation of the observer, who cannot approach it with a passive outlook. Meanwhile, the effect of having to wear a visual tool (the 3D glasses) renders an entirely active aspect to the interpretation of the work. Thus, the perceptive demand of the work will most likely be more complex, and as already mentioned in the context of other work, more reflective.

Tree-dimensional project (TDP-002) 2013, lightbox, cm 158×110

The visual trick used in this case, while not fully attributed to a new or original technique (stereoscopic images have been around for a while, even if not overly used), posed a series of problems, including some that affected the implementation of the work. The latter resulted from the aesthetic demands of the work and, in some cases and surprisingly exceeded the original vision.

One of the problems that came into play, focused on the need to produce an image that, even without the help of the visual aids (the 3D glasses), was enjoyable, or at the very least did not, at first glance, produce a negative or disorienting effect. Through experimentation with the photographic techniques employed, and by means of post-production techniques applied to the work, the images attained a level or

quality that I think allows the work to maintain its intimate raison díÍtre, even without the use of visual tricks or external manipulation. Another problem, and a far more involved one, focused on the question of perception as relating to the image that, in the case of the normal stereoscopic vision, results in an excessive, and therefore improperly realistic conclusion.

Tree-dimensional project (TDP-008) 2013, lightbox, cm 158×112

It is, in fact, well known that stereoscopic images are composed of overlapping planes of vision, which induce a false representation of the true depth perception (after all, this is the function of binocular vision). However, these overlapping visual levels often render a distinctly superficial result on the one hand presenting the observer with a rather striking image, while at the same time rendering a pronounced corporeal loss of its contents. The result is often discouraging: the observer can clearly perceive the realism induced by the spatial aspect of the work. However, the contents are rendered flat and devoid of substance, as if they were maquettes (scale models) contained within a theatrical backdrop.

In any case, even after the often inconclusive effect of the stereoscopic images was mitigated, the pure and simple attainment of an abstract and successful outcome did not culminate into the actual objective, or at least into the primary objective of the project. In this sense, the spectacular effect of the optimal stereoscopic vision, thus eventually achieved, in truth (and when it remains an end onto itself) could only be contradictory, in respect to the needs among others of meditation, inner reflection and emotional involvement, which I believe, pose an essential aspect of any work and which, in any case, signify the purpose of the work in question.

Tree-dimensional project (TDP-001) 2013, lightbox, cm 153×110

In this respect (almost surprisingly) it was the very nature of the work from which the 3D plates were eventually realised, that favored and rendered a calmer and more placid perception as relating to its stereoscopic nature, while giving way to the possibility of a vision that was not in actuality limited to a mere useless, visual game. In all likelihood, it was the profusion and the

richness of the perspective layers associated with the original moulds (bronze and ceramic work with countless undercuts) which, in fact, completely neutralised the striking yet false perception of reality that is often, as mentioned, exhibited by stereoscopic work, and instead delivered, a calm and reflective vision of the work. If I wear the 3D glasses and I take the time to

inspect my work, I do not perceive any disturbances in its manifestation. The overlapping planes do not stand apart from one another, but rather tend to provide a continuous stream of visual information, an almost unified perception that renders the image soft and malleable, and its vision tranquil and natural.

Tree-dimensional project (TDP-016) 2013, lightbox, cm 132×97

Tree-dimensional project (TDP-009) 2013, lightbox, cm 120×80

The initial quality of amazement, which in truth is not missing from the work, does not represent an end onto itself. Rather, it makes room, almost immediately, for the enjoyment of the image. The task of perceiving the work thus layered, renders possible aspects and elements that often escape the observer while scrutinizing the layers (the original bronze or ceramics). Surprisingly, the perceptual distortion as it has been obtained, allowed for an even more profound and radical image that, as I commented upon the initial viewing of the completed work, appeared even more real than reality itself.

Milan 18 march 2013

Tree-dimensional project (TDP-005) 2013, lightbox, cm 85×110

Tree-dimensional project (TDP-010) 2013, lightbox, cm 85×110

Tree-dimensional project (TDP-011) 2013, lightbox, cm 240×174