The two films Aeolian Processes #1 and #2 are shot in 16mm in three different locations; a ceramic laboratory, a spray booth and an artificial light studio. The title of the work Aeolian Processes refers to a natural force: winds’ ability to shape the surface of the Earth and other planets. The idea was to keep track of the process of materials and how they were randomly re-positioned in my studio over time and how their aspects continuously evolved.
My interest was to use the sculptures as figures and create still lifes as architectural landscapes. I looked at them as filmic texture rather than three-dimensional objects to be shown alone in the space. They were unimportant on their own, but they created a visual language through their combined compositions and as still lifes in artificial light. It was a perfect set for a scale model world with its own geology. Close-ups of textures of unfinished sculptures, metal sticks, a skull, a wooden shape and even a rifle were part of these random sets.
Taking the process itself as the core of the work, my aim was to create an abstraction of the utopian or imaginary architectures, planetary landscapes and possible settlements on planets, the idea of fight and remains of civilizations, while keeping my focus on the materiality and texture of ceramic and the other materials I used to produce the work.
The drawing series The Shrine of the Post-Hypnotic was the translation of the sculptural process into ink on paper. I was using the pen in a repetitive way with no clear form in mind but just an open surface acting like a machine recording the seismic waves of a meteorite or the tension and sensitivity of minerals, while evoking rock formations, floating stones, burned trees, fossils, dimensionless textures, primitive tools and ritualistic objects or simply dried surfaces of clay, letting the form shape itself and solidifying a temporary thought or just keep track of a blinking image of unmeasurable structures seen under a powerful microscope.