By LUCA POZZI
Do the characteristics of physical space condition your work?
Physical space conditions work as it conditions life. My intention is not to tie physical, architectonic space to a physical situation, but to a state of mental and emotional concentration, where shapes are present not only as originating from a certain space, but also from a certain moment. What I want to create is a moment of pure space-time.
Another thing which interests me is the relationship between architectonic and natural space. I feel the need to be in the place where I shall build the work, because what counts is the liveability of space, I need to create a set of possible movements. It’s as if there were something between space and movement, so that starting from a movement you can create another space, another situation. It’s a very simple process, but very strong too.
When I walk into the showplace, I enjoy my changing awareness of the moment of time and space. I test the consciousness of my own consciousness.
To what extent does the mimetic character of your operations on space condition the experience of the observer walking through?
In a way the experience of the observer is like my own, because I always put myself in his / her position. My point of view is equally external. Contemporary perception does not see things brutally, in only one way. Nothing is simply white, there are billions of different experiences.
What are the creative stages which lead you to produce an installation?
The experience I mean to create takes a lot of time, time to be in the place, move around, look, move things, decide. I consider many possibilities whilst I’m searching for the essence. I regard the visual question as sensory/mental. A series of sensations and superimposed images are born and follow one another like frame in a film directed at the observers, including myself. It’s sensory transformation: what’s happening there doesn’t matter, what’s important is to know that it will never repeat itself in the same way, and that every second you’re faced with a new way of being in the world.
In the installation at the Fundação de Serralves, where we met, the whole of the ground floor was beset by small and big perceptive revolutions, some of which so subtle as to be hardly visible. What is the limit between real and artistic space?
It’s all artistic space and it’s all real space. The series of visual realities in constant creation are part of a single platform, whether you’re contemplating a real space or an artistic space.
Real space is mental space.