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
2012
NaCL studies/Sodium chloride is series of studies and diagrammatic drawings that explore the process of formation of salt’ crystals from chloride atoms using an optical microscope and sem technology (electron microscope technology). Salt is a recurrent material in Emanuele’s practice, an ubiquitous material with an universal taste used in most culture. One of the properties of salt is its capacity to repeatedly transform, dissolving and crystallising is an ongoing process. Nacl Studies is a series of studies developed during a residency at the conservation and restoration centre La Venaria Reale, in collaboration with the department of physic of the University of Turin. The project aimed to extend ongoing concerns of Emanuele’s art practice such as material transformation, time and temporality by engaging with scientific processes, facilities and technologies for artistic production.The focus was on developing strategies for making the invisible visible through an exploration of material processes.
2008
Shot over a 12-hours period, from dawn to sunset the video Honey is an edit version of the film in real time. A gradual and continuous change of the world map unfolds beyond our eyes as an ever-growing number of ants approach the drawing to its complete disappearance.
2006
In the video Muteness, the viewer witnesses a slow process of unbecoming, as the letters of the alphabet melt and disintegrate before one’s eyes with the intervention of water. The ebbing away of the form and the resulting abstract image are compelling viewing. The tenuous relationship between chaos and order is evident here, as the work acknowledges our psyche’s constant unravelling in today’s world (extract from Kathy Battista text).
2005
This is a time-based installation. Each day, frozen ink is cast into letters, the given material slowly being replaced by a trace of the communication with the negative of the letters that forms on the floor, pointing to what was once fleetingly there (from Lisa Le Feuvre text).
Frozen ink melts the letters m and e onto a scroll of paper, eerily painting a portrait of itself in action; a powerful example of time-based work which has immediacy and honesty. The viewer can return to discover a new, changing relationship as the piece evolves (from GX Jacques review).
2005
Not I cutouts in perspex are filled with ink and water and left to gradually dry out.
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.
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.
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)
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)