Video has been, for a long time, a mise-en-scene of my feelings and the body has been my eternal obsession and narcissistic
dilemma. During the evolution my work went through the past years, the body became my companion and cooperator. What was the
subject to represent in a scene and to deteriorate through the frames of video became the place of experience and visualization
of my experimentation. In fact, it is not anymore through the video that I experience the body, but it is through the body that
I now experience the video as a medium.
I am interested in the possibilities, limits and characteristics of video, in
exploring the images in motion through the manipulation of time, movement and sound and create compositions of rhythmic
sensation and artificial reconstruction. Video, as film, is not movement, but a succession of still images, and therefore an
illusion of movement. The place where sound and video form the perfect synaesthesia, and therefore illusion, is the human perception. Film, and so video,
is where we try to simulate/dissimulate this perfect synaesthesia by synchronising/asynchronising sound. Human perception can be altered
and the illusion constructed or deconstructed. By manipulating video we can change the rhythm and the meaning of a piece. The
image repeated, reframed, accellerated or slowed down can contribute to produce an harmonic composition that it is like a
piece of music. I want to be the compositor able to determine the time, characteristics and power of the piece.
I am fascinated by the fracture of the temporal flow by variations in the speed of
the movement of frames and repetitions of single fields of a frame, creating, that way, a temporal disorientation and,
visually, a sort of vibration. The way I manipulate the frames in my videos creates a particular dimension that is like being suspended in the present.
It is not past, because the image is there and is moving, but it is also not going anywhere, since it loops ever and ever. We
are forced in the action of watching; it is the opposite of eternity. The narrative is forced between two points, between
static and motion. Any body captured in a given space, even if motionless, it is moving. It emits
waves, energy, vibration. The space around it is filled with forces that keep it in tension between two points. Usually, the
continuous stream of images does not stop and it passes through the visual field of the spectactor. I ask for contemplation,
trying to force the image between two points and oblige the viewer to observe the otherwise glancing picture.