A minimalist attitude, a work of reduction, both in forms and colors, the search of an essential language are all elements the three artists have in common. The starting point is no longer creation: the artist is the one who transforms and relates to the space, the one who explores the surfaces and takes advantage of technology to convey a personal message, in a “battle to force language to become the language of things, starting from things and returning to us changed, with all the humanity we have invested in things” (I. Calvino).
An unstable element interrupts the regular rhythm of the whole composition; a folded cloth appears to have been distractedly left lying on the floor; the analog process of photography includes the possibility to catch something that the eye has missed.
The photographs by Talia Chetrit explore the possibilities of light, colors, luminous conformation of the space, while investigating the medium of analog photography. The film seems to absorb the surrounding space, returning to the viewer a secret aspect of its complexity.
Magali Reus investigates the possible humanization of the object by providing industrial materials, often sterile, of a coefficient of unpredictability, introducing an alienating element which reveals its precariousness. Objects keep trace of a functionality that justifies their existence and the new aesthetic value given by the relationship with the space in which they are now presented.
The dense pattern of the drawings by Dan Shaw-Town seems to reproduce the texture of fabrics or canvases. The regular geometries defined by the stroke of the pencil, contrast with the manual execution. The incessant action of the graphite exasperates the paper, which becomes as precious as an ancient parchment or an old geographic map.
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