Artist’s Statement

 
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My work focuses on the symbolic attachments intrinsic in nature and culture.

Since 1990 I have worked with multi-media installations, films and photographic reportage.

Reflecting through a specific and observable non-manipulated reality, I try to identify what is hidden behind that reality and separate the layers of objective composition. The intention is not to simulate vision or deconstruct reality, nor to change the nature of things but to focus and to reinterpret. With lens, the camera or mirror capturing the immediacy of the subject, I focus on details and then extrapolate from expectations of that reality.

The reality we see is often what we look past because seems ordinary or granted to us, places that reflects our own interior landscape. The photographic eye objectifies this projection and interprets its subject reflexively – as though the intimacy of a self-portrait was annulled. In fact, this reflexive journey is a central theme of my work. The journey is a confrontation with the “others”, with the “double” (via mirror and photograph..) and a metaphor for how art bridges life.

For some times my interests have been concerned with the relationship between object in space. From painting I have moved on to sculpture, photography and installations. I try to identify what is hidden behind the obvious. I like to use everyday materials such metals, wood, glass, mirrors, as well light materials such as paper and fabric.

The use of the photograph and video is very present in the latest work, because they capture the essence of reality and the possibility of nature, a reflection of space and time. In my photographs, I pay particular attention to place and geography that already primordially inhabits the world, whose naturalism binds it to the sense of humanity. Awareness of this then leads to the conclusion that nothing can surpass the authenticity and beauty of nature. The photographic eye permits the immediate synthesis from the idea to the construction of the thought. This is therefore the beginning of the process that becomes the actual work. This coexistence underscores movement, as for example in my landscape work, in which each piece becomes a frame making up a sequence as in a movie.


Luigia Martelloni