Mimesis – 2013

The project includes six light box pictures realized by the young Sicilian artist in Serbia in 2013. The models are two young girls, whose fragile beauty reflects the atmosphere of the set: an abandoned space, full of items and materials recovered by Terrana, who turned them into artistic elements. The space is, for the artist, not a mere background: it gives inspiration and Terrana turns it into a visual suggestion through a mimetic process where figure and space are part of a whole and assume the same identity. The choice of the set is a central moment of the creative process: the discovery of non-places gives me strong emotions. Places full of such a strong past life rouse my curiosity and make me live that sense of astonishment that belongs to our childhood and is lost with the adult life. In these places, which others have forgotten, I look for items, which tell about forgotten memories and I give them a new life: they are the main characters of my creations. About the set for Mimesi, Terrana says: this attic moved me instantly; I felt a particular energy, something magnetic, and I decided to turn it into the set for Mimesi. Emotion is only the first stage of a process, which takes me to explore the space, evaluate its light, items and materials I can use. In this case I found some old curtains and adapted them to the body of the two girls, a bathtub from the end of the 1800-s, and some old branches, which I used as headdress for the girls. I took advantage of the natural light, trying to get an atmosphere that recalls the origins of photography in particular the “photography phantom”, a soft and misty light that I produced naturally, without post-production retouch.

This time the artist did not retouched his pictures because of an oriented expressive aim and not because he refuses post-production technologies usage: I am not against the use of those instruments that let us retouch or modify a picture. In the case of Mimesi, the use of technology would have destroyed the poetry I found in that place, which I wanted to eternalize as it appeared to me. For other works, I use these technologies to add emotion to a picture; I want to give a soul to the picture and get it closer to what I want to express. As in other works of the artist, in Mimesi the human body is transformed through paint, canvas, technologic items and recovered items. It is a transfiguration that turns the body into a white canvas, where he applies things and materials that are part of our everyday life and the space we live in. We are all surrounded by things we use every day and then change, abandon, substitute, forgetting the value these things have had in our lives. Things are our extension in space, parts of us full of life, our life. By applying them on the human body, I recreate this unity between human being and the things he himself has created, used and finally abandoned. The pictures in Mimesis have a color and setting typical of an old movie: they take us in a world that do not exist anymore, into a forgotten and faraway past. It is a leap back in time that contrasts the future world that Terrana tried to imagine several times, a world full of cyber robots and mutant creatures. A vision that cuts the time in two, who we were and who we will be, avoiding or postponing any judgement about the present. I cannot refuse the time I live in and belong to but I find it of little interest and mostly, too conformist. By looking at the past, its ethical and aesthetic values, I can find again the beauty of life, the attention for the production of things, the elegance of manners and being, the warmth of human relations. However, in the future I imagine a technology that can invent everything and satisfy every need, turning us into programmed machines. The only thing that no kind of technology can create is a soul, which makes us alive, unique, which allows us to communicate with the others with no need of a cybernetic interface. However, I do not want to demonize technology and I use it for my work: I just have to love what I reject because what I reject is what I am, and what we are.

 
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