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The intervention in the space is more architectonic than sculptural. The decisions to take in relation to the project are for me nearest an adaptation of function than of form. When I am offered a space for my intervention, I know that the work from the beginning depends on variables to be considered, but does not disturb to me, quite the opposite, it forces to me to go on and to handle all these existing values.
The offer for the Urbanitas exhibition is the panoptic room of the museum. A space of circle plant crowned for a cupola, which marks a central point and the expansion of the rest of the building.
Energy and chances are always in movement; from time to time they stop to concrete something, which was turning more or less time. I was back after spending 6 months at Rome, and I can say that what I most could feel like in that moment was a space with a cupola. Of everything that I have seen in Rome, the most impressive to me was the Pantheon in the day of the summer solstice. I had heard before about the excellences of this day with the Sun entering in right angle by the opening of the cupola, but I couldn’t imagine that I felt in that moment. A tube of sunlight came down like a plumb line on the centre of the building, I located myself in this point and I felt as all the energy covered me. I wished to freeze that moment, I wished that the time stopped, but the minutes advanced and the point was varying until disappear the intensity of the effect. I prayed that the energy which I received, could last for a long time, and it accompanied and protected me.
In each constructed cupola there is a connection with the sky, an antenna that gathers energy to show in a magnificent inside, grandiose in beauty and size. What cupolas suggest me, especially Pantheon’s cupola, is an intention of dialogue with the deep space. Is a very interesting power propulsion: as much inwards as outwards.
One of my creation interests is giving architectonic, real form, to sensation. Give form to abstract base concepts, Love, Fantasy and Beauty Transplants; Love in the Clouds. In 2003 I created the SPP program -Spatial Promotion of Perception- with the idea that any place can be transformed to live an intense sensation. Each place presents a particular characteristic that we must attentively look for so we can promote them; Comfortworld’s SPP offers this possibility. Psychospace specialists of
Comfortworld make an exhaustive evaluation of the place. They observe attentively the possibilities that present the place thus they are able to create a sensation for you. This is the philosophy of the program which I apply for first time in the construction of the Clinic of Perception and that I follow in the proposal of intervention in the MARCO’s panoptic.
The first thing to happen is that somebody proposes me a project. When I travel to see the place, I do it very nervous, overstimulated. I know for experience that the first impression will be decisive; I approach the place so excited that in my first contact emerges the idea. I analyze the space, I examine the scale, and I feel the energies that flow and observe each element which makes this place to have something to promote. The place talks clearly, it’s only necessary to listen. This first impression is not the resolution of the problem at all; I feel a sensation, a vibration that I have to give form to canalize an artistic work towards the spectator. The second thing is to request the plans of the space; I have to give a solution in base of this material. When I analyze the plans the idea has already appeared with clarity, is a question of fluid control.
The panoptic room of the museum is a space of a strong verticality that lowers to expand towards all the radial rooms of the building. The first idea was to exploit the force concentration, to take the potential that enters from outside, through the cupola and make it perceptive. Another fascinating question for me was to take the real measurement of the space; what is the measurement of a grandiose space? The tube would canalize the energy, will be 12 meters high and 2 50 meters of diameter. A great construction challenge that was giving two answers: the real measurement of a special place with cupola, and the construction of a tube which canalize the energy in this space.
Flesh colour machine in day of intense Sun is the title of the sensation that I want to construct. The project has divided in two parts: the tube that canalize the energy and the machine that received this energy to make it effective. The tube, coming down from the cupola and supported by the machine, has already a measurement and an objective; it would be in two kinds of blue -artificial sky blue for the exterior wall and natural sky blue for the inside. To obtain the effect of a day of intense Sun we need to increase the light; which in it’s artificial nature would freeze a ephemeral moment.
Another quality that defines my work is the use of the colour, the greatest factor in the special intervention is the use of the colour, even more, I developed projects almost or exclusively based on colour. Flesh Colour Machine is the result of an investigation in which I was working at that moment; through the Flesh Colour I was trying to move away from the symbolical meaning of the pure colours, and get into psychological base colours, laboratory colours. This investigation has summarized in the work The Flesh Colours, from congestive red to green Martian, from which I the machine colours. At the outside, centre is Live Flesh Colour 2, and the corridors are Flush Flesh; and at the inside the machine is Pink Flesh 2, and the corridors are Pink Flesh 1 and Natural Flesh 2.
Energy comes down through the tube and falls directly on ours fleshes. The intention of this project doesn’t go beyond what the title relates, although this is the result of my work in the last years through the Love Centrifuge and Fantasy Centrifuge. Flesh Colour Machine is circular, closed by six cylinders with anatomical form, and two accesses by two corridors. When I design an intense sensation, I always include a preparatory access that the spectator must cross, a purifying passage that prepares him(her) for what (s)he is going to feel.
A last detail, the work has sound, a machine noise. Some time ago I read an article about how to calm a baby when it cries, and the proposal was to do it with sounds. In the maternal uterus there is a background noise caused by the mother’s bloodstream, to reproduce this sound could relax the baby. In this moment I thought to locate this sound, the most similar that I found was Spaceship inner atmosphere of 1, what a coincidence!
