HUMAN LInk interview: vimeo.com/185508032
HUMAN Link preview dei tre atti: vimeo.com/94373583
HUMAN Link making.of secondo atto: vimeo.com/114560495
Umberto Ciceri uses lenses as a kinetic medium, "moving" in antithesis to immobility acquires an existential meaning: regeneration against stasis. The works presented enhance the wonder and the hidden drama behind every provisional state of harmony, each state of collective grace. The battle for equilibrium as an emblem of social injustice.
1- The process always starts with filming
actions that really take place in space and time.
Whether outside or inside, the artist makes the subjects spin with
electric motors or he circles around them.
Recording times can last from days to a few seconds, but the important
thing is that everything takes place “intentionally".
2- The actions may already be pre-recorded. The artist
builds actual theatre sets and films them.
For him this has the same value as live action or
a show that is taking place before his very eyes.
3- The frames are selected according to directing, script and
editing. The final result is purely imagined.
4- Blurring releases the undulatory effect of the light
which overcomes the barriers of our perceptive ignorance that depend so much
on authoritarian boundaries.
“Not in focus" means non-authoritarian.
The depiction is broken down into something
that does not stand out but melts on the retina.
The Hypertrait leaves a mark on our neurons,
without necessarily leaving the
mnesic imprint of conscious vision.
5- Focus is the main feature. What appears to be optically out of focus
is in reality the result of
nanometric focus, bordering on paroxysmal:
recording what is invisible with what is visible.
Ciceri's personal blurring technique is
the result of the painstaking practice of
breaking down the focus of the images and then putting it back together
in their elementary colour patterns,
requiring great experience
and expert technique. He is almost a painter working
with the pigments of optical photosynthesis.
6- The artist weaves the resulting creation as he were working with a loom,
using strands of frames in place of silk thread,
and then goes on to print the “optical fabric" on special kinds of paper
with a generation of exceptionally high saturation ink.
Like a geologist, the artist immerses himself in the profound
material of the image, working on a subliminal scale.
The landscape in which Ciceri
operates is a place that’s inevitably abstract and invisible
to the naked eye. He replaces and adds micro-configurations
of complementary colours that manage to emphasise the final
reception with vibrations and interference, as if the optical mix
obtained were emanating its own light in undulating shapes.
(In this case, the reds of the "subject" are strengthened
by the inclusion of huge quantities of green, while the dark
of the background will be contaminated by various purple shades,
acquiring vibration and greater depth of field)
8- The OPTICAL MIXES are always different,
with a unique combination each time. Unique pieces.
The variations that produce the uniqueness are seemingly
invisible, too small for the human eye to pick up
yet large enough to create different luminous sensations
and prismatic interference.
9- Penetrating inside the optical lenses, the external light interacts
with the printed image in a continuous reflection, diffraction
and diffusion of waves, setting off a phenomenon that the artist has
named SUPERSYNTHESIS :
the two laws of vision, additive synthesis which governs the light
and subtractive synthesis which governs the material, combine to
produce new colours which don’t really exist in the work,
and each observer will process his or her own.
10- Optical lenses are set up
on optical fabric printed with nanometric precision.
This passage can only be manual, as
the “industrialized” results are not at all
11- Flower pollen, chitons of moths,
mollusc secretions and minerals
create the secret formula of the ink with which
the author stamps his symbol on the back of
every piece of work.