At the border between minimalism and conceptual art, White Vessels explores the possibility for a constructive interference.
Upsetting the fruition of different media – namely sculpture, photography, and video – my aim is to create a defamiliarisation meant to stimulate and enhance the reception of the unknown.
The white vessels require attention and disposition in order to be perceived, and still there is an extent of censorship and inaccessibility that prevents the full reception of the artworks. This condition of incomplete whiteness is not meant with a negative connotation, but as a state of emptiness waiting to be filled. It is thanks to shadows and contrasts that we are able to experience this piece, those are the imperfections that actually communicate with us.
The practice of whitening and censoring the artworks becomes a process of restoration of a positive emptiness leading to a new beginning.
"So that something can come, something must go.
The first shape of hope is fear.
The first manifestation of the new is terror."
(Müller, H. 1970)
For this project I wanted to explore techniques of digital manufacturing and through this experimentation investigate how the relation between artist, material, and artwork is changed. The white canvas, starting point of a more fine art-y approach, becomes the final product of my introduction to digital manufacturing.