What is fundamental in your artistic research?
Time and Space (and spacetime) intrigue me a lot. As well the latest theories of physics, like the black hole thermodynamics and quantum loop gravity. Time and Space, are two universal themes. I think that all artists in general reflect on them. It is impossible to reflect on something without taking time and space into consideration because it would be something non-existent, without reason. Whichever avant-garde or trend that broke the mould, whichever nihilistic, violent, peaceful and beautiful wave. Everything held onto time and space and everything will take them into account. It really is only when we launch ourselves towards the horizon, the other, that we find ourselves again. By studying the stars, we learn about anatomy, and vice versa. Tending to universal themes is a way to reconcile the macro with the micro. To reconcile ourselves with everything. For me, this is the foundation of existence. All the rest is also interesting, but it comes afterwards.
What importance does music have in your practice?
I grew up with loud music, analogue photography and butterflies. Music is just everything to me.
Please tell us about your current exhibition at MuMe Museum Messina.
I had the opportunity to put forward a project to MuMe, which allowed Contemporary Art to enter inside the museum for the very first time. This was possible thanks to BIAS 2020 with patronage of the Sicilian Department of Cultural Heritage, the City of Messina, the Donà dale Rose Foundation and WISH World International Sicilian Heritage. My installation is in the room where two big Caravaggio paintings are. The project was a challenge. I thought about translating scientific theories into a three-dimensional form, in an installation. I don’t feel as though I have brought works in a broad sense, like paintings. The intent is, in fact, to elevate Caravaggio’s paintings, and therefore elevate the past. To look at it from a different angle. Most of all it is a way to reflect on the continuous flow of reality and time. The wonder you feel at the entrance of the room is linked to the enormous paintings. Continuing to walk, there are places in the room where the viewer’s own image is reflected with the paintings themselves, blending together. The installation emphasizes all of this creating a strong dialogue with the past (so, the dimension of time related to the past). The museum’s collection includes archaeological finds, and both ancient and modern art. It is a jewel for the whole Mediterranean, even safeguarding ancient treasures that were found after Messina’s tragic earthquake. Everything was collected together and put in this enormous anti-seismic cement building that sits brutally in front of the sea. To imagine this place would be exhausting, with its beauty and its uniqueness that really sets it apart.
What are you working on at the moment?
I am developing this new series of kinetic (distorted) mirrors. MuMe has the very first two sculptures. But I am also developing framed artworks having the same kinetic effect. And, thanks to you, all of this will be at Cardi Gallery very soon as an Abramenko curatorial project.