What Is Methatione For

A: Can you tell us what led you to combine different artistic techniques within a single creative process?

L: Engraving because it is a technical - but I also feel the spirit - of which, over the years, I fell in love more and more, where we find an affinity. I love the slow requiring its processes. Today I realize that I have grown a human way, taught me the meaning of time and expectation. The ads are due in pencil to the need to find and convey a sense of overlapping and transparency which reveals the different levels and steps of my thinking and my work. The words are in typewriter instead the need to always resort to a narrative element. The machine because it is cold in my hand and cleaner, according to the job, this contrast can be important. It is also a writing a stamp, then close the incision.

A: The realization of your work from a manual labor, physical and tiring, leading to works that convey a sense of instability and fragility. Explain how you came to this type of approach?

L: I think the contrast between the engraving process with hard, exhausting to be treated and the quality of the paper, support a weak and delicate, to bind to my way of being. I like the transition, transformation, the sense of hidden there in the engraving process.

A: In your work you can breathe a strong sense of insecurity and undefined, you would like to deepen the reasons?

L: The sense of insecurity? I think the bottom is not so much a choice but an inclination of my eye, so of myself, of my character. Flee from all that is shouted, said with certainty, defined and hard, and I love everything in sight, but it is not outlined. I love the fog, the shades of or in the gray winter sky before the rain. The gray is the color of moisture for me.

A: Your works are made up of small units and joining approaching each other create the final work, is a matter of poetic or formal?

L: The small units that make up the whole refer to the idea of \u200b\u200bprecariousness. They are fragments, little thoughts, notes silent, barely mentioned. I guess that's a matter of poetry. Undoubtedly have a sense too formal and I still can not grasp the point.

A: What's the value of the sign or by a p anointed graphic semiotic view?

L: The sign is the result of the harmony between my hand and my feelings. Usually I feel stiff and hard to coordinate the movements of the body design is the only moment when everything becomes easier, I say to my hand to be gentle and graceful movements, but strong in will. I do not know what I mean ... but the hand must be dissolved thought that the strong moves, sure. Graphically, a sign must vibrate like a musical time, to vary the gray scale and to convey a sense of depth and emotion.

A: In Clipboard the image of the clothes hanging in the wind is repeated over the entire surface of the work, you might mention it to where it started the interest for this subject?

L: passion for swelling the sheets drying in the wind comes out. I do not know when, but it is so strong that I find the beauty in this picture I suppose that binds to an episode of childhood that I can not find. Attach to this subject a strong sense of white.

A: The birth of Clipboard was influenced by some literary or artistic work?

L: Notes I did not have a true reference text, but I remember that at that time there was a book I read and reread, is titled "Facing the Music" by Paul Auster and is a collection of poems.

On a formal level but I was very passionate about the work of Jorinde Voigt, a young German artist.

A: Looking through your artist's books and looking at your work, we noticed that the work will be the death differs from your usual approach between word and image . Could you explain why?

L: Death will is the first artist's book that I realized, s'inspira a poem by Cesare Pavese whose own title is "Death will come and will have your eyes" I tried to find images that express the wonderful depth of the verses. This is the first approach to the genre of the artist's book, and then, a bit 'naive, I felt the need to follow step by step text, to make it explicit. In subsequent work I have abandoned the rigid text-image pair, but there continues to be more hidden. Another major difference with the later books is not to have used the engraving, I believe that "Death will come" is distinguished by its very appearance and pictorial for a unique piece, almost a point departure.