WAYS OF SEEING



Ways of Seeing intende comporre un atlante di immagini del paesaggio sardo attraverso lo sguardo e la vita delle api. Esso propone una visione del mondo che recupera un romanticismo intrinseco dell’immagine attraverso uno slancio intuitivo dello spirito umano in termini non di conoscenza ma di sentimento. Il progetto mira da una parte a riappropriarsi utopicamente dell’immagine come esperienza sentimentale e romantica del paesaggio; dall’altra a ritrovare un’autenticità dell’immagine come totalità coincidente della realtà con l’immagine, e dell’immagine con la realtà.

Il progetto nella sua interezza non si costituisce nella forma definitiva di una visione, ma in una serie di stadi di avvicinamento che spingono ad una unità multiforme, cercando di rintracciare una continuità vitale tra ciò che vediamo e quello su cui viviamo ed agiamo.


Il progetto si costituisce in diverse fasi:

1 -  Recuperando la pratica ottocentesca dell’en plein air, ho iniziato a realizzare tutta una serie di paesaggi raffiguranti grossomodo quell’area territoriale battuta dalle api, il cui raggio d’azione è solitamente pari a tre chilometri dal punto in cui le api hanno il loro alveare.

2 - Successivamente ho montato sulle tavole dipinte dei telai da melario, armati verticalmente con filo stagnato, che son serviti a sorreggere i fogli di cera su cui le api hanno lavorato per creare il favo. Tavola e telaio hanno costituito dunque un oggetto unico che ho inserito all’interno dell’arnia. Quindi ogni tempera è  stata lavorata nel suo retro dalle api che vivono e creano quello stesso paesaggio da me rappresentato pittoricamente (va tenuto conto che l’intero sistema ecologico di ogni zona dipende per l’84% dall’azione di impollinazione delle api).

3 - La realizzazione del favo da parte delle api, da vita ad un oggetto costituito per un lato da un immagine pittorica, per l’altro da un favo contenente miele. L’immagine come esperienza sensoriale di conoscenza e di rappresentazione del mondo si unisce quindi ad una visione del mondo più originaria, in potenza, e non rappresentativa: la struttura cerea del favo e del miele prodotto dalle api.

Ways of Seeing intends to compose an atlas of images of Sardinia through bees’ eyes. It suggests a vision of the world that regains an intrinsic romanticism of the image, driven by an intuitive impulse of the human spirit, which ceases to recognize truth in terms of knowledge and understanding. On the one hand the project’s utopian aim is to restore the image as a romantic and sentimental experience of the landscape; on the other hand, it aims at regaining an authenticity of the image as a coinciding totality between image and reality, where reality coincides with image as well as image coincides with reality. Ways of Seeing tries to regain a vital continuity between what we see and what we touch and live in. It represents image within its vertigo of visual references and its state of continuous becoming and totality. Thus the entire project will not take the shape of a definitive vision, but will display a system of consequential visual approximations which aim to express a multiform unity.


The project takes form from several stages:


1- In the early stage, regaining en plein air painting, namely the practice of painting landscape pictures out-of-doors, I will depict that territory in which beekeeping is carried out, the territory inhabited by bees, whose sphere of activity is usually three kilometres from the point in which they have their own beehive.

2- The finished tempera on wooden panels will be affixed to wooden beehive frames with vertical wires that support the foundation wax on which bees create their honeycomb. The wood panel and the hive frame form a single object that will be inserted into the beehive. Every tempera representing a certain area will be modified in its back by those bees which have created the same territory (bearing in mind that 84% of the world’s terrestrial ecological system depends on bees action and pollination).

4- When the bees have created their honeycomb, the result is an object that is a pictorial image on one side, with the verso an actual honeycomb containing honey.

In this process the sensory experience of image is expressed in wax and honey through a different mode of comprehension.

On the other side of the panel, the normal understanding of images through the figurative approach of reality (the landscape depicted on wooden panel) is translated into a no-representative and irrational language. Beeswax and honey become a new image of landscape.

Spectators will be able to look at the paintings from the frontal side to observe the aesthetic work of the painter, while from the back side they might admire the honeycombs (landscape) created by bees.

Drawing b1 shows a prototype of a beehive with mobile hive frames invented by Lorenzo Lorrain Langstroth in 1851, that permitted the development of the rational and modern beekeeping. Langstroth is popularly credited with discovering the ‘bee space’, the space of 9,5 mm that prevents bees from attaching honeycombs to the walls of the beehive, and allows the frames and the honeycomb to be relatively easy to remove. Today beekeeping is practiced in wooden boxes very similar to this original prototype.

Drawing b3 shows a section of the mobile frame invented by Langstroth and the wooden panel that will be fixed together and insert inside the beehive.

Drawing b2 shows the geometrical and modular structure that bees construct to contain their larvae and to store honey and pollen.

Image b4 shows the honeycomb on the back of the painted panel (in the picture, the high part of the honeycomb shows that the small hexagonal cells have been closed by a subtile layer of wax to protect and preserve the honey). This is the structure of wax and honey that the bees will create on the back of every painted wooden panels.

2013

Ways of Seeing No. 6

Tempera su tavola, cera, miele

30 x 43 cm

2013

Ways of Seeing No. 10

Tempera su tavola, cera, miele

30 x 43 cm

2013

Ways of Seeing No. 3

Tempera su tavola, cera, miele

30 x 43 cm


Ways of Seeing No. 8


Il dipinto è qui fotografato prima che fosse inserito nell’arnia e modificato dal lavorio delle apie.