Looking inside ourselves draws us into an indeterminate space, that extends everywhere, before and after our own selves. Our own identity, drained and transfigured, and our exclusive self opens up towards the unlimited process of regeneration. Within these abyssal biological meanders, the play of possible futures thickens. The dominant blue saturates everything, while both vague and clear anthropomorphic figures coalesce and emerge. The creative forces of synapses trace unforeseeable paths, organic circuits radiate their energy within the endless depths.
The Legend of Babel, where the original language of Eden was broken up into many, and humans could no longer understand each other. VOICES FROM THE BODY borrows the best-known image of the Tower of Babel, that by Pieter Brueghel, where tiny humans struggle to comply with the unrealistic, mad orders of the king: that the power of humanity should reach heaven. In front the crystalline body of a man dominates, springing from the earth and rising up, beyond the Tower, into the sky. Innumerable rays of light emanating from the Tower, penetrate, and pass through this body, seemingly summoned by the gesture of the hands that open the body, as if to liberate countless voices.
Small details, half concealed in the variety of Bruegel’s own forms, suggest the powers that aspire to say the one truth, the one word, the supreme end that has spattered the king’s mantle with blood. VOICES FROM THE BODY converses with the myth and nourishes the real allegorical power and force. The visual thought of Grazia Zattarin interacts, in a style dear to her, one very close to the calligraphic clarity of Dutch paintings of the Renaissance, with the tragic vision of the human condition expressed in Brueghel’s works; in the proliferation of languages she sees the liberation of the many by the One, liberation from the idolatry for the absolute Word that speaks only the true name of things. VOICES FROM THE BODY redeems the fall of the Tower by turning the many languages originating from it, the proliferation of cultures, the breakdown of the power of subjection wielded by absolute truth, that demanded by the king, into a value.
TAKING PLACE, as the title suggests, seeing is what our times open up to our sight which, from within, reveals the shape of the real that is no longer apparent.
The demons of war possess the soldier, guide his/her action, tear his/her heart. Legions of warrior Angels arrive, bringing care, elevation, compassion. But the battlefield is, primarily, within the soldier, within each one of us.
The pictorial dynamism here does not only seek to emphasize an action at the moment of its manifestation but rather to suggest a state where physical matter becomes unstable, less dense, the moment that our perception of the real is modified by another way of seeing.