The new project presented by LABS Contemporary Art for the 26th edition of Art Paris 2024 consists of a reflection on the use and results of the photographic medium, through contamination between image and sculptural object.

The series “Sono soltanto linee” investigates the dialectic between reality and fiction by creating a relation between sculptural elements and their projection in space.

The “Sculture anonime” series draws attention to the formal diversities that characterize the photographed objects. Our gaze acquires an awareness of the object in a dialectical and diversified way.

Sono soltanto linee

To see is not to undergo but a doing, an action of the spirit, of the intellect. The geometric rigour of the photographed rods disciplines the gaze and takes it into a new space delimited by shadows that betray the very perception of the construction of the image.

We find ourselves in an abstract dimension in which the veracity of the photography is compromised. The projection of the light, the darkness produced by the wooden rods triggers a dialectic of true and false, visible and invisible, touchable and impermanent. The sculptural element supports the photographic image and the photographic image in turn justifies the presence of that foreign body as a supporter of the image itself.

“They are just lines” (“Sono soltanto linee”) is a work dedicated to the understanding of the construction of a vision and the questioning of the objectivity of photography; there is a place of the image, an unreal place and it is to that place that I choose to bring my gaze.

Sculture anonime

The subjects emerge from a timeless dimension. The aesthetic rigour underlines their seriality, giving them sculptural value. Attention is brought to the minimal formal differences that characterize them. The time of images is long, it is the time of the discovery that nothing is taken for granted; of how everything can be wonderful in its simplicity.

The artistic background of Giulia Marchi characterized by a strong literary imprint has led her to an expressiveness often connoted with narratives, even when the chosen form (often photography, but not only) doesn’t make the reading immediate, but refers to subsequent combinations, like codes that even before being deciphered allow themselves to be interpreted by a kind of fascination, both for the skilful use of materials and for the communicativeness of the image, often tricky at first observation, but equally attributable to the artist’s poetics. An integral part of the artist’s work is to contaminate the art scene with different materials. Research is reflection; it requires knowledge, study and deep understanding. The work is not solely visual but transcends vision, leading you into tactile spaces in which the image is shaped by implying a well-structured thought that has to be decoded.

Photo Courtesy: LABS Contemporary Art

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