TAKING OUTSIDE

FROM INSIDE TO OUT: PLACING ONE'S COLOUR IN RELATION WITH OTHER SPACES

“If, at all events, the works of one artist are forced to put up with each other in a single room; then something does arise from their involuntary cooperation that is greater, more eloquent and more revealing than any one taken by itself.” 

(From Rainer Maria Rilke’s Florentine journal, 1896)

How do you take outside something that is inside?
How do you put something that was created in its own place, in the studio in isolation, in relation with other spaces?
What am I trying to activate when I place outside something that I previously produced in my space?
What comes from the encounter between an inside and an outside?

Oil paintings on canvas, sections of Plasticine stratifications, pastels on paper, successions of serigraphy prints, coloured glass, sponges soaked in colour... All of these “small pieces” are used as fragments of paint to be inserted into and experience other spaces.

The gesture is renewed and goes on to constitute something new and different. The exterior spatial dimension opens onto another creative act.

In this chapter it is possible to view the material through the various types of spaces occupied.
Naturally, within this simplification that considers the space from a physical point of view there are many other distinctions and many other characteristics that regard the idea of a symbolic dimension of the space and which marks the relationship and the works in different ways. This is either due to what they represent or the different audience that views them.

From the studio, “the room all of one’s own”, to the religious mystical space, to the architectural one, to the private one, to the public one, to the civic one, to the living space, to the specific spaces for contemporary art, to the gallery space where you might have to go back to on many occasions, to historic sites, to the studio of another artist...