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.

Brine buckets

2010

Brine buckets is a video installation created for Articulating Change Emanuele solo show at StoneSquid in Hastings. Projected onto a watery and salty surface the videos action one & two float inside the two metal buckets. The projected surface having the consistence of dried out sea water at time reveals other conceals the projection, whilst a salty surface is displayed above the buckets.

Wrap up

2001

Site-specific intervention on a functioning radiator; protecting from the dispersal of heat with corrugated cardboard coated with blue sticky paint.

action one & two

push & pull

2009

The site-specific video installation action one & two created for the exhibition Uncharted Stories at the Triangle Space at Chelsea College of Art, responded to the space by using the narrowest corners of the gallery to create a mirroring projection of two actions performed for the camera. Action one represents a macro-vision of a transparent and jelly material that looks like a micro-world of cellule-like forms, attempting to pull each other apart; action two shows a female subject blowing to exhaustion into the same type of material, the more she blows the more she distorts the reflection of herself. Looking in and looking out, action one & two negotiate a space between the self and the world around.

Milk font/Milk vessel

2007

Milk font/Milk vessel was born as a site-specific response to the Florence Trust Residency. It appropriated the iconography of the architecture at Florence Trust by filling the church font not with holy water, but with a rich, thick, velvety white liquid that evoked an eerie sense of timelessness.  The work was consequently adapted for a gallery context and titled Milk Vessel, where the video was projected into an ice container.