Idiosyncrasies and computer landscapes (analogue and digital installations)

Idiosyncrasies. A philosophical/visual path in which technological, aesthetic and conceptual contradictions are intentionally represented. Historical and scientific inaccuracies, to decompose and overturn the common units of measurement. turning reality upside down.

Computer Landscapes. The idea was born in the early 80's from the observation of malfunctions and image disturbances in cathode ray tube televisions and the patterns of apartment floors. In that period, the analogue manipulations on prints of famous works, pages of art history books, literature or scientific popularization began. Destructuring, decomposed images, surgically dissected and reassembled in another form, deprived of their original meaning. The same mode is applied to analogue photographs. Portraits of people, houses, meadows, animals, pictorial reproductions of floors, then photographed later. Objects without a logical sense. In this case the subject does not matter. It is just a tool to manipulate, cut and reassemble. To which to give a new life and in which the "no meaning" is the meaning. The name "Computer Landscapes" was later coined with the birth of digital. In addition, this series of works (in particular those of the 80's) can be considered a technical / stylistic anticipation (selection-cropping-cloning) of the various editing methods that many well-known photo editing software offer today.

Open minded. (Idiosyncrasies). 1990©. 70x30 cm approx. Installation photographs 150x100 cm approx.

Wooden carpet 2 (Idiosyncrasies). 1988©. Cm 40x40, tempera and oil on wood. Wooden carpet 5 (Idiosyncrasies). 1986©. Cm 40x40, tempera and oil on wood. Wooden carpet 9 (Idiosyncrasies). 1988©. Cm 40x40, tempera and oil on wood. Wooden carpet 13 (Idiosyncrasies). 1988©. Cm 110x80, tempera and oil on wood.

Having the light bulb and going to bed with the candle - Time jump. Morning-evening projections (Idiosyncrasies). 2005©. Natural size, Light bulb, candle. Photographs of the installations 100x150 cm, digital printing on plexiglass.

Still life with a man coming down the stairs (Idiosyncrasie), 2005©. Cm 150x100, digital printing on plexiglass.

Pseudospecular idiosyncrasies: Idiosyncrasies e4. 2006©. Cm 25x20, pencil and ink on paper. Idiosyncrasy r4. 2007©. Cm 25x20, pencil and ink on paper. Idiosyncrasy s4. 2005©. Cm 25x20, pencil and ink on paper. Idiosyncrasy j4. 2006©. Cm 25x20, pencil and ink on paper. Idiosyncrasy t6. 2006©. 25x20 cm, pencil and ink on paper. Idiosyncrasy n4. 2005©. 25x20 cm, pencil and ink on paper. Idiosyncrasy e14. 2005©. Cm 25x20, pencil and ink on paper. Idiosyncrasy ji4. 2007©. Cm 25x20, pencil and ink on paper.

Ashes to Ashes (Idiosyncrasie). 1986©. C, 20x30, analogue photographs, cotton thread.

I ancient thought (Idiosyncrasies). 1986©. 20x30 cm, analogue photographs, cotton thread.

Cultural container 54 (Idiosyncrasies). 2017©. Cm 46x36x10, wood. Cultural container a19 (Idiosyncrasies). 2015-2017©. Cm 32x24x18, wood. Cultural container b68 (Idiosyncrasies). 2015-1017©. Cm 38x30x10, wood. Cultural container c16 (Idiosyncrasies). 2015-1017©. Cm 44x44x13, wood. Cultural container d35 (Idiosyncrasies). 2015-2017©. Cm 49x40x10, wood. Cultural container f48 (Idiosyncrasies). 2015-2017©. Cm 54x44x14, wood

Culture is a crime (idiosyncrasies). 2009-2013©. Cm 61x45x40, mirror covered in decorated metal, books from the 1700s, steel knife.

Variations on Dante Alighieri's Divine Comedy (Idiosyncrasies). 2008©. Natural size, Book, teaspoon, cotton thread, nails, ink.

The Mediator 1a “Paradox” (Idiosyncrasies). 2010©. Natural size, bread, iPad, plate, common thread. The Mediator 2r “Paradox” (Idiosyncrasies). 2010©. Natural size, tree, iPad, common thread. The Mediator 3c “Paradox” (Idiosyncrasies). 2010©. Natural size, acrylic painting on cardboard, iPad, common thread. Photographs of the installations 100x150 cm, digital printing on plexiglass.

Computer landscapes n ° 3 - n ° 4 - n ° 5 - n ° 7 - n ° 9 - n ° 22 - n ° 90. 2002-2003©. Dimensions to be defined, digital prints on plexiglass.

The phrasebook of the established order (Idiosyncrasies). 2008©. Cm 26x15x15, glass, iron, wood. The conservamandarini of the conceptual cardinal (idiosyncrasies). 2008©. Cm 35x15x15, wood, glass, mandarins, formaldehyde. Study for a Monument to the Fallen from the Roof (Idiosyncrasies). 2008©. Cm 27x15x17, iron, lens, plastic, silver. Conceptual traction (Idiosyncrasies). 2010©. Cm 44x21x17, wood, iron, rope, magnet.e.

Portovenere out of phase (Computer Landscapes). 1984©. Cm 12x21, b / w analogue photographic print sectioned with scalpel.

The fixed nail n° 5 (Idiosyncrasies). 2015©. Cm 55x44x10, acrylic and iron nail on canvas and board.

Fixed nail n° 7 (Idiosyncrasies). 2015©. Cm 42x40x12, acrylic and iron nail on canvas and board.

The obsession (idiosyncrasies). 1989©. Cm 20x13, tempera on offset printing, brass nail.

The short Maja (Idiosyncrasies). 1985©. Cm 23x28, tempera on offset printing.

Head to Head n° 3 (Idiosyncrasies) 2013©. Cm 33x27, acrylic on English fabric, wood, cotton thread. Head to Head n° 7 (Idiosyncrasies) 2013©. Cm 70x67, Acrylic on English fabric, wood, cotton thread.

Head to Head (idiosyncrasies). 2010-2019©. from a 1997 project. Cm 250x250, acrylic on fabric, cotton thread.

Computer Landscapes: Light veil. 1988©. Cm 30x55, oxidation on analog photographic print. White hill. 1988©. Cm 40x30, oxidation on analog photographic print. Buoyancy. 1989 ©. Cm 30x55, oxidation on analog photographic print.

Hologram 15 (Idiosyncrasies). 1987©. 1720's paper, colored pencil.

Structures A-B-C-D-E-F on the Ontological relationship Being/Entity (Idiosyncrasies). 1989©. Various materials. These are compositions made in the late 80's. Photographs of the installations 100x150.

Room study n° 1 (Idiosyncrasies). 2000©. Cm 100x150, digital printing on plexiglass. Room study n° 2 (Idiosyncrasies). 2000©. Cm 100x150, digital printing on plexiglass.

Suspended structures Y-T-n6-B (Idiosyncrasies). “Prototypes for two-dimensional installations” 2004©. Suspended structure Y - simulation of two-dimensionality. Cm 50x50, plastic, formica and aluminum. (Suspended structure T - simulation of two-dimensionality. Cm 40x80, plastic). (Suspended structure n6 - simulation of two-dimensionality. Cm 100x40, fabric, wood, brass). Suspended structure B - simulation of two-dimensionality. Cm 100x55, plastic, wood, formica and aluminum. Photographs of the installations Cm 100x150 c.ca, digital prints on plexiglass.

Appropriation of concept (Idiosyncrasies). 1988©. Cm 19.5x12, book, ink. Appropriation of concept (Idiosyncrasies). 1988© Cm 19,5x12. book, ink. Appropriation of concept (Idiosyncrasies). 1989©. Cm 18x11, book, ink. Photographs of the installations Cm 150x100, digital prints on plexiglass.

Donald Duck Bondage (Idiosyncrasie). 1983©. Cm 25x13x17, rubber, red ribbon. Hollow head duck (Idiosyncrasie). 1983©. Cm 14x6x7, rubber. Tied kitten that is no longer loved (Idiosyncrasie). 1983 © Cm 23x26x13, rubber, rope. Photographs of the installations Cm 150x100 c.ca, digital printing on plexiglass.

Computer Passages: I recognize perhaps. 2006©. Body. 2006©. Shift. 2005©. Work n ° 7. 2003©. Annunciation. 2005©. Structure T. 200 ©. Cm 100x150, digital prints on plexiglass.

Computer Landscapes: Suspension 3. 1997©. Dimensions to be defined, analogue color print subsequently converted into digital. Empty carpet. 1996 ©. Dimensions to be defined, analogue color print subsequently converted into digital. Suspension. 1997©. Dimensions to be defined, analogue color print subsequently converted into digital.

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