Seawater/NaCL

2014

Salt and water have a mesmeric quality intimate connected with life and death and the creation of meaning. In Seawater/NaCL micro and macro are seen as one, looking into the micro revels the macro and vice versa. The installation included NACL Studies a video shot with an optical microscope that records the process of formation of salt’ crystals from chloride atoms and Seawater, which shows images of the horizon digitally manipulated to expose the editing process, perhaps a futile attempt at counting infinity.

Seawater/NaCL was a project commissioned for Coastal Current Arts Festival in Hastings; it was shown in the exhibition Space Interrupted curated by Clare Sheppeard at Electro Project Space, St Leonard on Sea in 2014.

Melting alphabet

2006/13

Melting alphabet explores the materiality of language in relation to liquidity and movement. Imprints of a gradual process of dissolution the letters of the alphabet gradually disappear onto the page; indexical diagrams of a process and its movements, these drawings are an attempt to give structure to primordial experiences of language, the self and the body.

Ref: 2000/01 -153-154, 2004/05 – 240-254, 2006 – 97-106

2014

The transformation of language and materiality and how these processes of making and installation can combine in site-specific locations are the themes explored in Ref: 2000/01 -153-154, 2004/05 – 240-254, 2006 – 97-106, developed during a residency at Mill Lane Library in the Land Economy Department of the University of Cambridge for all-art:language:location.

Using the architecture of the library, along with disregarded box files commonly used to contain and order documents, periodicals and academic papers, a system of shapes precariously balanced resemble a choreographic intervention. Dis-assembled and fragmented arrangement of forms positioned on shelves above and below the balcony. A semi-formed and illegible text invites the viewer to speculate as to its potential for a meaningful address. Perhaps a reflection on the state of the library, whilst in the process of being re-located and perhaps too a comment on the ability of language to re-form in various material states.

ALL- art:language:location Exhibition

Water balls

2003

Different size water-filled balls casted in wax were scattered around the gallery space ready to be pick up by the viewer, a caption in the title label suggested the interactivity of the work. ‘The most important aspect of these pieces is their capability to exist as autonomous forms, of having a physical presence that is Euclidean in their geometry, yet precipitate a desire to touch and hold. The subsequent discovery from the external appearance to the hidden interior changes the understanding of the work in a fundamental way’. (Gerard Wilson text)

Breaking down the line

Sketchbook Series 1 to 100: page 4, 11, 43, 37, 12, 3…

2016

Translating choreographic movements into paper constructions, temporarily balanced, Sketchbook series 1 to 100 animates the blank pages of a sketchbook as fleeting momentary sculptures of a dancer’s movements. A sort of taxonomy of a series of gesture, a rhetoric of movements, which becomes a series of stills of the same action: folding paper.

Immateriality: Possibilities and Experiences Exhibition

 

 

1 and many concrete balls

2003

The work 1 and many concrete balls was conceived as interactive and it was shown on different days in two different spaces. The former was a small, self-contained room where the spheres constituted almost a solid surface, while in the second room the spheres were scattered in such a way that the experience underfoot carried more a potential of hazard. The resulting echoing sound produced by the crashing of the spheres completely altered the perception of the space (from Gerard Wilson text)

100 Gallons of water a line and a bag of sand

2010

100 Gallons of water a line and a bag of sand as installation is part of Articulating Change, Emanuele solo show at StoneSquid in Hastings. A series of water themed works that explore change through material acts of making.  Water, a recurrent material in Emanuele’s work, with its mesmeric quality, has an intimate connections with life and death. Its relationship to the creation of meaning is of particular interest in this installation; as Emanuele states: ‘the constantly changing nature of water seems to suggest the existence of continuity in change’.  Articulating Change review by GXJacques.

Half way through

2002

Echoing a partially disassemble domestic wardrobe, half way through is an ambiguous object. It appears as an unfinished piece intentionally left there half way through the making.

48 hours

2010

48 hours was created for Articulating Change, Emanuele solo show at Stone Squid Gallery in Hastings. Intuitive experimentation with the malleability of plasticine manipulated through repetitive actions led to a complete resurfacing of Emanuele’s studio working table. The piece has opacity, as plasticine creates a new grainy surface, transforming the table into a shimmering object. Its contemplation is equally absorbing and reflective. The title of the work references the timing for the making process pointing back to the gestural repetition. Articulating Change review by GX Jacques.

Balancing beam

2001

An interest in movement and communication is already apparent in Emanuele’s earlier pieces. Working with ideas of balance balancing beam is informed by Emanuele early experiences in gymnastic and dance. Painted in two contrasting colors, the object with a strong formal presence is displayed as an interactive sculptural piece and the viewers are invited to walk on it.