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The Translucent Skin of the Present

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The Translucent Skin of the Present Michele Ciacciofera The Translucent Skin of The Present Acting with materials, pictograms, colors, signs and texture, this body of works organically want to take anyone lives and comes at Mirrored Gardens through a dimension in which my art prac- tice, in a variety of materials including different ceramic techniques, mythological forms, a col- lection of visionary books, textiles etc. offers a vision of an unlimited life with no beginning and mostly no end as a flowing liquid. Drawing from both abstract and figurative forms, craft tradition and writings, combined with references from literature, anthropology, archaeology and history, this installation intends to push these practices into new directions, bringing them together to create an original and diver- gent visual language his own, in a constant dialogue with the natural surroundings and the local culture through a pluralism of traditions where no dominant experience, skill or culture persists. These works are mainly characterized by a sense of exploration of the human forms and his orig- inal practices as writing, drawing, praying. Exploring the reality in all its vastness and crossing ages and cultures from the Neolithic, as a fundamental starting reference for human creativity, to now these materials, figures and forms want to resist easy categorization, allowing for different layers of readings and experiences. My practice compares to that of an archaeologist and anthropologist as an art of excavation impregnated by mythology, popular legends and real experiences through the most important historical venues in the Mediterranean culture as the two islands of Sardinia and Sicily are. This research forms part of my personal sociological and anthropological education, it is in- scribed in my Mediterranean DNA, as a man born in Sardinia and raised in Sicily, among the nuraghi, the Greek temples and the fragments of antiquities that sometimes still emerge from the ground as flowers do. （Written in Mirriored Gardens by Michele Ciacciofera） Fossil / Trilobite “Collecting them is a kind of mania – they are beings/objects with what I believe to be a perfect shape, but science is not yet able to tell us everything about them, making them mysterious and fascinating.” “They act as an archive because they encompass memory, while on the other hand these fossils inspired me to start reconstructing forms that are also the result of the psychological processing of reality.” ——Michele Ciacciofera A Fossil is any preserved remains, impression, or traces of any once-living thing from a past geological age. These ancient remains turned into existences appearing to rocks after a long and complicated transformation (including permineralization, casts and molds, authigenic mineralization, replacement and recrystallization, adpression, carbonization, and bioimmu- ration). Trilobites are a group of extinct marine arthropods. The earliest fossil record of trilobite dates back to the Early Cambrian period (521 million years ago). Trilobites disappeared in the mass extinction at the end of the Permian (252 million years ago). “Trilobite” means “three lobed,” which is in reference to the body plan of trilobites that divides into three body parts both horizontally and vertically. Cephalon Thorax Pygidium Left Pleural Lobe Right Pleural Lobe Axial Lobe Fossils of trilobite scattered all over the planet, with a wide range of known species of more than 17000. A trilobite casted off its exoskeleton for a few times through its lifetime. The reason of which fossils of trilobites are worldwide preserved is that the mineral content, high in calcite (CaCO3), in their exoskeleton makes them difficult to be decomposed. The quantity and geological distribution of trilobite fossils offers a strong evidence for the Continental Drift. Writing / Sign “My interest in memory is born out of several considerations, but first and foremost out of the awareness that our identity is the history of the generateons that preceded us, written and told in and by the system of tangible and imaginary symbols that represent it.” “In both Sardinia and Sicily, several islands exist alongside one another within the islands themselves, and all of this is very fragile. By this I don’t mean it is all disappearing, but I think that today the language of art can seek to recover linguistic values. Deep down, language are symbols, pillars of identity, which are threatened with extinction, but which can be relaunched as part of a harmonious temporal vision, in keeping with art.” ——Michele Ciacciofera Cuneiform Script： Cuneiform script is one of the earliest writing systems in human history, invented by the Sumerians evolving for a long period from 31st century BC to 1st century AD. It is distin- guished by its wedge-shaped marks on clay tablets, made by means of a blunt reed for a stylus. The origin of cuneiform script is tokens used for accounting, a kind of ceramics dingus mold- ed in various shapes. The tokens were preserved in a hollow-ball shape clay envelope with impressing marks on the envelope surface for distinguishing the deposit inside. It gradually developed into abstract marks on clay tablets written by a stylus. A speculation of the first time cuneiform script given abstract meanings other than account- ing is the inscription of names of both gods and human in burial use. Coptic Script： Coptic script is the latest stage of the Egyptian language, spoken in Egypt until at least the 17th century as official language. It was gradually replaced by Arabic and eventually became extinct. Coptic script is one of the earliest languages used for the translation of the Bible. One of its distinct dialects, Bohairic, is spoken and written in the Coptic Orthodox Church of Alexandria as the liturgical language nowadays. Ceramics / Earthenware “Producing these works in Sardinia, using mud, clay, straw and the sun of the island was essential for my project, which also has the purpose of underlining the importance I attribute to nature and agriculture...” “I try to create an image, not a prebuilt image, but an image I search for with ceramic and also raw clay. The relationship with something material that is almost in our genes, communicates something, especially with the earth. The modeling of clay, the prints left by hands, are perceptible to the viewer and go well beyond the aesthetic created by the object. Here I am talking about a stimulation of the senses.” ——Michele Ciacciofera Sardinia： Local history of ceramics production traces back to the Ancient Neolithic peirod, the first appearance of ceramics (c. 6000-4000 BC) on the island, and continues to contribute in the following cultures, such as the Beaker culture (2100-1800 BC) and Bonnanaro culture (1800- 1500 BC). The earliest pottery was not only used in daily practice, but also served as ritual offering container. Traditional ceramics of Sardinia are mainly terracotta. Each town on the island owns its distinguish style of ceramics. （picture on the left: patterns of lapwing, symbolising fertility of the harvests.） Sicily： Also began from the Ancient Neolithic period from c. 6000 BC, Sicilian local productuon of ceramics has a long history. Similarly to Sardinia, Sicily was tinted by various kinds of culture through invasion and immigration for thousands of years. Civilizations, for instance, Arabic, Greek, and Spanish, brought their typical techniques of ceramics to the island, such as maiolica and azulejos: The maiolica technique was used for all manner of ceramics, from vases to plates to light fittings. It was also used to create azulejos, hard-wearing decorated tiles. As the baroque arrived in Sicily and aristocratic palazzi sprung up all across the island, azulejos were the first choice of flooring. Most were embellished with relatively simple geometric patterns, but the wealthiest members of the nobility commissioned azulejo floors depicting large-scale pastoral scenes, fantastical collections of creatures, family coats of arms and much more. (picture on the right) Local ceramics production of both Sardinia and Sicily relates intimately to their natural environments. The clay, water, sun, and colors. All of these originate on these two islands. Furthermore, clay of Sicily contains a unique combination of silicates, which makes the earthenware shines in its unique way. Architecture / Engraving “When I lived in Sardinia, I often went out looking for inscriptions on stones, ancient symbolic writings. I have always tried to bring these symbols back up to date. I have memorized this sort of abstract graffiti, which has only been partially deciphered, in order to find its meaning. I associate it with everyday things.” “I memorized the engravings on the stones so as to reinvent them or bring them up to date... For me, memory is a mosaic that allows us to manipulate time, going beyond the limits of mankind. Man’s greatest limit is death and so I seek to go beyond this.” ——Michele Ciacciofera Domus de janas： “Domus de janas” means “houses of fairies or witches,” a kind of rock-cut underground tombs, built through the Late Neolithic and Copper Age peiroed on the island of Sardinia, also known as the “pre-nuragic” period (built mostly between 3400-2700 BC). More than 3500 of domus de janas still stand widespread on the island. They have been used in the following civilizations as burial, dwelling, and other purposes. These days, domus de janas becomes one of the most famous tourist spots of Sardinia. The inner construction of domus de janas mimics the one of dwellings of those days, with a typical sequence: dromos + antechamber + chamber + cells. Most of the domus de janas were constructed with a single combination of “dromos + ante- chamber + chamber”, while the quantity and shape of cells is irregular. chamber cell cell antechamber dromos On top of the space structure, there are also unpractical art, such as pillars, columns, wood beams, and hearths, simulating a house for daily living. There are various sculpted and painted symbols on the wall of domus de janas, such as bucra- nia (bull-head like form), zigzag, and spiral.
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