Not I aquarium

2005

 Not I cutouts in perspex are filled with ink and water and left to gradually dry out.

Stage plan drawings

2014

Approaching the empty page of a black hand-bound book as a stage, Stage plan drawings reproduces in the form of graphic drawings, developed from choreographic Banesh notations, dancers’ patterns and formations for Tchaikovsky’s Nutcracker and for Britten’s Young Apollo. The viewer is invited to browse the book whilst listening to the recorded sound of dancers ‘steps on stage. An interplay between public and private spaces is at play in the display of the work: from the public moment of a performance to the singular act of reception of the viewer in the gallery space, back to the public as an online digital format for the book; here the singularity of reception is preserved via the one to one encounter of the work on the computer screen.

Stage plans is an artist book (hand-bound book courtesy of Denise Hawrysio) and sound installation, originally conceived for Book Act a project by AMBruno for the exhibition at The Tetley in Leeds, it was shown with Graphic Traces installation for acts/reacts 2014 at Wimbledon Space.

Stage Plans digital version

365 glasses

2004

The installation 365 glasses is composed of 365 casted wax glasses with a hollow stem filled with coloured inks, orderly lined up on the gallery floor, the initial set up is disrupted throughout the duration of exhibition by spillages of ink on the floor. The malleable material, affected by the change in temperature of the gallery, set the work in motion. 365 glasses is the first of Emanuele’s sculpture where it is the material that becomes performative as the stems gradually melting poured out the liquid.

Photocopier & spinning tops

2002

A photocopier, spinning tops and A 4 paper are the materials for this installation. Ideas of balance and perpetual motion are expressed through repetition and accumulation. Repeatedly recording with a photocopier the fleeting movement of balance of a spinning top whilst it spins, indexical marks of the balancing movements. Photocopier & spinning tops invited the viewers to become active participants of the work making photocopies themselves. A playful interplay between differing modes of perception of the work: participation and conceptual understanding.

Emanuele has recently revisited this work and is currently in the process of producing an artist book with the drawings, offering permanence to a fleeting moment.

Light bulbs

2005

With a simple shift of context and material in this sculpture the functionality of an everyday object is subverted; Light bulbs filled with water and pigment resemble grenades, evoking ideas of spillage and explosions without actually suggesting a narrative.

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