Infinito femminile (2018)
Interpreting and representing female thought through a few minutes’ work was a challenge that turned out to be an adventurous and unexpected journey. Choosing a classical dancer as 'guide' in the exploration of the female soul has allowed, through sometimes evanescent and delicate movements, sometimes measured and decisive, to perceive and live different psychological plans, yet connected and without interruption.
The different graphic and musical techniques used have intended to enhance, in the various passages, the lightness of the dream, the need for utopia and perfection, the depths of meditation and reflection, abandonment to beauty and emotions, the courage of sudden change of perspective the perturbation of passion ... and more.
The combination of real-analog world and virtual-digital processing finds its balance in visual representation as in sound rendering, with a mixture of instruments able to express vibrational power like gong, Tibetan bells, percussions, flutes and guitar, combined with digital technologies, they give rise to a synergistic and fluid perceptual dough. A complex and articulated plot of feelings and actions that finds in the continuous introspective conversation and in rational and pragmatic thought the awareness of the intrinsic generating power of the woman, in harmony with Nature and the Universe.
"Female Infinity" got the first place in the XIII Premio Nazionale delle Arti 2018 (National Arts Award competition) in the Music and New Technologies section - Category of original Audio-Video compositions.
Polimorfie stems from a study on an intentionally poor starting audio material: a recording of crackling fire inside a wood boiler. The declination of the audio material suggested me a further study on visual material, focused on fire and its textural transformations into other elements (from fire to water, to air, to earth), linked by a similar texture or physical behaviour.
The use of a 3D modelling and animation software has been fundamental at this stage, since allowed me to generate subjects with specific physical features. The use of a chromatic palette restricted to black and white has been dictated by the choice of focusing on the physical and textural aspect of the subjects, getting rid of any chromatic information from the attention of the viewer.
“Polimorfie” got the second place in its category at XII Premio Nazionale delle Arti 2017 organized by MIUR (Italian Minister of University and Research).
104 Hz (2016)
104 Hz is a work based upon a ratio of 3:1. Three synthesised materials and one re-elaborated recording were used in it’s creation.
This four video materials are immediately shown to the viewer: a square, a triangle and a sphere are the synthesised materials; a shot of a woman in front of a green screen is the remaining fourth material. The same process has been used for the selection of sounds. The sounds are: a 104 Hz sine wave, a low percussive sound, some long, high intonation, legato sounds; the concrete material is extracted from recordings of an acoustic guitar. The different video materials are showed at the beginning of work. Various phases then follow that show the materials being analysed individually.
The scope of the music is to create an ambience and an accompaniment for the visual materials.
Ghost and Whispers (2014)
Ghost and Whispers is freely inspired by the concepts present in Igor Stravinsky’s “Histoire du Soldat” and it is at the same time a kind of homage to this masterpiece of 20th century music.
By means of its complex audiovisual textures, almost completely digitally generated (with the only exception of some micro vocal and instrumental fragments), this work explores in deepness the incessant and tough psychological battle of the soldier with the devil and the war, but in fact mostly with himself. Immersed in the solitude and surrounded by spectral whispers he becomes finally complete victim of the tempter.
“Ghost and Whispers” got the second place in its category at the first edition of the MIUR (Italian Minister of University and Research) “Premio Claudio Abbado”
Controcorrente is focused on the temporal observation of the visual and acoustic objects without following a specific narrative linearity. The intense light intended as force and life is fundamental in the poetic and expressive research of this work. Every different illumination discovers inner and intimate aspects of the matter, conferring them a new sense ad observing them during time across the audiovisual discontinuities.
“Controcorrente” has been performed at: STEIM (Amsterdam), NYCEMF (New York), UVM (Brasilia), Musiques et Recherches (Bruxelles), Sonorities (Belfast), GLEAM (Glasgow).
Lontano giace il mondo (2011)
A steadily moving mosaic gives a glimpse of a night scene, whose characters are in appearance order a flame, a musician and a girl. The title, taken from the first Hymn to the Night by Novalis, is a tribute to that kind of magic space the author feels during spending evenings in the woods together with friends.
The big experienced distance between those moments and the everyday ordinary world, could even make this magic space closer to the ancient art of mosaic, the alchemical symbols, the hieroglyphs and the prehistoric pictograms depicted here inside the tiny tessera.
DATA is an audiovisual performance for tape and “sonic screen”, an instrument of originally conceived by the author. It is in fact a projection screen made by a grid of loudspeakers, each of them connected to a photo sensible oscillator. It is thought to be “played” with light, or better with visual animation projected on it and manipulated in real time.
The sound produced by the screen itself (a kind of modulated almost constant whisper), being a sort of pulses and clicks train at various frequency, represents a “limitation” by a musical point of view. But is exactly from this “limitation” that the work concept arose: an exploration and expansion of the instant, of the datum.
The click itself of the oscillators has been recorder and isolated. The sound material of the piece was built starting from that ad it was organised in time interpreting binary patterns. In a similar way, starting from sequences of zeros and ones, the methods for controlling the sound design were defined: for ex. the calculation of the frequencies of the formants of various clusters, the definition of the form of the envelopes and so on.
Also the video (in this occasion it is presented a capture of the video stream originally projected on the sonic screen) develops starting from some limitations: the choice of two colours, two basic forms (lines and squares), but, most of all, the general issue of conjugating the visual language to the musical one in a close consequence relationship.