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Maria-Morganti-Melma-Laguna-Accumulo-Sedimentare-Venezia-Fondoscolapennelli

Maria
Morganti

synthesis

Arrow home

An archive of time

SYNTHESIS / Generating / Collecting / Condensing / Sedimenting / Archiving

I consider this site an integral part of my work, which reflects my obsessive behaviour of accumulating, preserving, keeping a record, and putting myself on display, warts and all. It is the space that I have envisioned as a connection between outside and in. I see it as a fissure between my interior world and the external one. As it is a lucubration, it will change constantly, a form of open research in constant transformation.



SYNTHESIS

In my practice I have focussed on the experience of colour intended as the trace and substance of existence. My works are sedimentations of time that contain the meaning of a perennial transformation. What is generated in isolation in the studio through a fluid process is gathered and conserved inside a complex system. If I had to explain myself in two words, I could say that I am a ‘painter-archivist’ in the sense that I create the conditions for the act of painting to be regenerated infinitely, making the artistic substance flow. I then place a lot of attention on cataloguing, defining and supporting each physical and conceptual part of this process. The archive as a work is the place where everything is recompacted, where all the fragments are kept together. It is the form that helps to maintain the constantly changing story and is also the propulsive power for other generative acts. 

Generating

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Generating

In my case the palette, the place where the painter constructs her language, is a ‘Bowl’ that generates a single colour every day. What remains is then transformed and continued with the addition of a new substance. The content can’t be allowed to dry up, it is like keeping a plant alive – the colour is renewed, the substance is changed, consumed and never accumulated.

Collecting

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Collecting

Each colour generated is spread with the brush onto a long thin surface. Each ‘Diary’ records and bears the trace of a certain period. When it is completed, it is moved into the ‘Diary-theque’ which acts as a container and measurer of the time of existence. This object contains both the painted ‘Diaries’, which are there to represent the time past, and the untouched ones that are yet to be experienced.

Condensing

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Condensing

Simultaneously, the same colour is also placed on the ‘Infinite Painting’. Over the years the canvas has thickened, grown and become heavier. The thousands of micro-layers spread on the two-dimensional surface have created a three-dimensional object, which says that my relationship with painting is not a retinal one but rather a physical one.

Sedimenting

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Sedimenting

Some of the colours created in the ‘Bowl’ are distilled and spread onto the ‘Sedimentations’. The process is declared, leaving the passage of all the colours which have led to this latest layer on the upper edge. When these paintings are finished, they are stored in the ‘Sedimentary’, which is simultaneously both a germinator and a store.

Archiving

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Archiving

The ‘Gestureplace’ is the studio inside the studio, the space dedicated to the act of painting and is a work in its own right. The connection between the practice of archiving and my way of working has created a world made of forms that envisages containing not only the space to make things happen but also the space dedicated to their care.