“The Valley of Frupper, the empiricist rabbit”
The art project “The Valley of Frupper, the empiricist rabbit” proposes from the aesthetic and pictorial scope, about the non-conventional realities (not ordinary reality) versus the mechanical and automatic idea of consensual reality structure (ordinary reality). It refers to places that oscillate between the physical and the metaphysical, between what happens outside and what happens inside regardless of whether what actually happens occurs in one or the other; what is important is found in the imaginary that is constructed in the interstice between the two. The rabbit, metaphor of the humans as guinea pigs, accepts its rabbit condition and prepares itself for a delirious sensory journey. Release the reins of what is established and suffer the vertigo of the vacuum when it is suspended as clouds (zero gravity). And it is precisely in the clouds where he projects his fantasies. He knows that being in the clouds is the game and that is where he plays and establishes the rules (there are no rules).
The valley are states of mind and the rabbit jumps happy through its slopes.
This project consists of several paintings in acrylic and mixed techniques in different dimensions that tell the story of Frupper, an empiricist rabbit. These paintings are displayed on the room’s walls and all over the place distributed in a specific order but in a heterogeneous way. The versatility of the pieces allows the space to be widely available. The proposal aims to communicate to viewers an idea about the different possibilities of realities from the perspective of a pictorial language context and how we use painting as a medium to conceive stories. Even how the imaginary world of art language and painting language are part of those possible realities. The importance of this project is based on a meditation about painting using the same painting as a medium. Talk about painting with paint to claim the importance of a traditional technique as a graphic document, as a narrative medium and as a generator of thought today, how its implementation in artistic languages is still feasible today. Another idea is to propose different interpretations of the whole project that stimulate viewers fantasies according to Frupper’s story and beyond.
Since the very beginning I’ve been interested especially in painting and drawing language, but in a very open and experimental way that leads me into different points of view about doing drawing and painting, trying new results from the different process and mixing several materials. Beginning with an academical training and after studying the masters of classical art all along art history until contemporary art, proposing questions about painting and drawing in the present. Since a few years I have been trying to get out from some topical issues about style and ways to perceive arts and artists, in that way in I did a mixed work in my project Frupper’s Valley, where I mixed styles, materials and dimensions. Al my work is based in searching, trying, mixing, materials that connect with interests, curiosities in arts and in life.
Watch Catherine Pickop’s video to find out more about the artist practice.
Repetition, stillness, and rhythm are essential elements in my work, each painting is my yearning for harmony of order and beauty. Each painting started with scoring on paper with precision, mineral pigment is applied on the scored paper afterwards.The transparent lines appeared become a white line on the surface. The gesture of rubbing mineral pigments on paper using my body temperature, skin and the pressure of my fingers alone to control the tonal movement in colour is for me, an intimacy between my body, mind, paper and the medium. The sound and scent, as well as the feeling, is therapeutic, meditative and liberating.
Watch Giacomo Bevanati’s video to find out more about the artist practice.
Giacomo with his background in Architecture and Exhibition Design started creating a net of sewed wire with specific mental patrons, whose strength is a guarantee of reinforcement able to create shapes and curvatures which lead to final sculptures and models. During the last four years, this autodidactic process lets him discover how the weight, the tensions and the structure of the net can get transformed into an art piece. His creations range from sculptures to wearable art, where masks, hats and sculptures constantly evolve while his learning process moves forward.
This interview to Artrooms applicant Lorette Kos is part of a series of videos – ‘ Conversation with Evolutionary Women’ – made by Rachael Ng.