I call it “Library of signs”. It is my collection of designs, from De Chirico to Morandi, Grosz, Kounellis that my eyes possess daily. Lined up in various rows on the wall, they create among themselves a short circuit, different “languages” and “dialects”. I learn from them, things I did not know.
My ancient “pirate” eye suggests robbery, a substitution of the original for the primitive.
The stolen material takes on an impersonal vitality, and kleptomania becomes an “intellectual illness”. Seeing, possessing is investigation, and the use of “my” designs from the collection is a “stipulation”, a “contract” more than a challenge.
Manipulating them on canvas, on a different medium or scale, is the beginning of the process of disguise. The enlarged images call and call other images by the same artist, by analogy or by way of my magnetic re-memory. It is a plot, a theatricality of the already-possessed, the already-seen. And of the other-beyond, where the “comedy” has the title of “killing” the original, attempting an impossible originality through disguise.
Using my own creativity, I reconcile or cancel out the creativity used, looking for myself through the other.
The work is dual, an integrated binomial, opposed and conflicting.
The space is still theatrical, where a given or received language-sign clashes and links to a new beginning: unveil the unveiling.
Estrangement, substitution to obtain a third time-interval originating from the conflict or from the false agreement. It is not only “disguising”, nor “camouflaging”, “hiding”, or concealment, but a real double disguise, if not a pretense hiding viable fragments that can be re-assembled.
It is a process of altering, changing, making different that which has been received for going beyond the “crust” of the primitive.
Can we still listen and correspond reciprocally?