My Work ranges from environmental subjects and
issues, to the self. When I play with time, I work with video and photographic
sequences and develop photographic installations and performance if the notion
of space prevails.
All of my pieces explore the notions of fracture,
anxiety and transit in a process guided by action, movement and transformation
of the surface and the body itself, exposing emotional states as well as
exploring formal aspects that seem to be closer to painting.
In Vessel, 2009, the room becomes the body, in a
sculptural way. The movement marks the intervention; the body passing through
another body. This choreographic element is always present in my work. It has
been called a “promise of movement,” because you only get a glance,
a second of what happened. Almost resembling an after-image, the tendency for
absence becomes complete when the viewer can only see the room with marks and
humid shapes disappearing on the plaster walls. This new skin absorbs my flesh;
the room as a living organism.
Susan Suleiman, in reference to Francesca
Woodmans work, suggests that pain is not the only way to “denature”
a body: there is also aesthetic. I want to share in this idea that allows us to
consider the roll played by the formal aspect of an artwork, and its conceptual
consequences. The necessity to visually represent a body, to reassure or to
invent an identity, or to express its void, or its negative, are some of the
questions behind my work. I am in search of a concave body, a skin that can
cover like a blanket: inside this room and in my own head.
luciapizzani@gmail.com
www.luciapizzani.com
My Work ranges from environmental subjects and issues, to the self. When I play with time, I work with video and photographic sequences and develop photographic installations and performance if the notion of space prevails.
All of my pieces explore the notions of fracture, anxiety and transit in a process guided by action, movement and transformation of the surface and the body itself, exposing emotional states as well as exploring formal aspects that seem to be closer to painting.
In Vessel, 2009, the room becomes the body, in a sculptural way. The movement marks the intervention; the body passing through another body. This choreographic element is always present in my work. It has been called a “promise of movement,” because you only get a glance, a second of what happened. Almost resembling an after-image, the tendency for absence becomes complete when the viewer can only see the room with marks and humid shapes disappearing on the plaster walls. This new skin absorbs my flesh; the room as a living organism.
Susan Suleiman, in reference to Francesca Woodmans work, suggests that pain is not the only way to “denature” a body: there is also aesthetic. I want to share in this idea that allows us to consider the roll played by the formal aspect of an artwork, and its conceptual consequences. The necessity to visually represent a body, to reassure or to invent an identity, or to express its void, or its negative, are some of the questions behind my work. I am in search of a concave body, a skin that can cover like a blanket: inside this room and in my own head.