Kaleidos
Teresa Giannico
Viasaterna is pleased to announce Kaleidos,
first solo show of Teresa Giannico (Bari, 1985). The exhibition presents two
projects representing stories of real interiors, intimate spaces and suspended
worlds that are constituted by sediments of objects of different nature as in
the Kaleidos game. Lay Out and Ricerca8 are
two series of works that employ techniques of photography, drawing and
sculpture, which put the final image into perceptual ambiguity.
For years, Teresa Giannico has gathered and archived images of objects that belong to our everyday lives, such as bottles, carpets and chairs, sought out and selected from the internet and from the artist’s own photographs before being brought together in a sizeable catalogue, ordered by typology. From this visual pool, the artist selects the images for her composition, first drawn using pencil and then put together over a series of following stages. The objects, printed onto paper and mounted on a rigid support, are then assembled so as to make up a miniature diorama. A reconstructed micro-world that the artist photographs and then eliminates, yet of which traces remain in the single final image, where the diorama itself is the subject photographed. A scenario suspended in its potential, in the manipulation of the entities of which it is made up, their history, their addition and subtraction and the dialogue that is triggered between them. The clash between the model, reality and photography fosters the confluence of a generative trickledown effect.
Through the logic of the fragment, Giannico questions the documentary value of photography and the limit between the citation and the previously unseen. The artist represents the multiple elements of structure and the levels of interpretation of our contemporary world, opening up a window on the entireness of a both personal and collective mosaic.
For years, Teresa Giannico has gathered and archived images of objects that belong to our everyday lives, such as bottles, carpets and chairs, sought out and selected from the internet and from the artist’s own photographs before being brought together in a sizeable catalogue, ordered by typology. From this visual pool, the artist selects the images for her composition, first drawn using pencil and then put together over a series of following stages. The objects, printed onto paper and mounted on a rigid support, are then assembled so as to make up a miniature diorama. A reconstructed micro-world that the artist photographs and then eliminates, yet of which traces remain in the single final image, where the diorama itself is the subject photographed. A scenario suspended in its potential, in the manipulation of the entities of which it is made up, their history, their addition and subtraction and the dialogue that is triggered between them. The clash between the model, reality and photography fosters the confluence of a generative trickledown effect.
Through the logic of the fragment, Giannico questions the documentary value of photography and the limit between the citation and the previously unseen. The artist represents the multiple elements of structure and the levels of interpretation of our contemporary world, opening up a window on the entireness of a both personal and collective mosaic.