All my sculptures are created using a lot of origami gru, all self made. The shapes under the gru are mannequins usually destined to she shops.
The model used to shape these mannequins reminds, with the proper differences, the body of Milo’s Venere. The smooth bends of a sensual body have been the reason that has caught my attention.
Then, I observed how the most famous female body, the Venere, has been transfigured in the mannequins. Some features of the original, as the freshness, have been clearly lost, swallowed both by the atmosphere and the charm faded away and by the material, the polystyrene, used to print these mannequins. The serial reproduction extremely contributes to lose the naturalness and purity proper of a young female body. Moreover, the polystyrene, being a chemical and poor material, emphasizes this aspect.
The origami art, literally the art “to fold paper”, gave me the opportunity to create a shape transfiguring what we always use as a support, a paper sheet.My work intends to move against the process of serial reproduction through a hand crafted and, above all, personal intervention. At the same time, with this artistic gesture, I try to give back spontaneity and vitality to a body that has been deprived of.
The idea arises from my will to show an object, found attractive since the beginning, under an appropriate new light, rediscovering somehow a shape locked in a dimension imposed by economic and commercial necessities.
The small facets of each crane, the origami model I have chosen, placed side by side and covering the whole surface of the mannequin, give to the work great chromatic vivacity, both under artificial or natural light. Beside to amplify the visual impact, this peculiarity suggests the multiplicity of the female personality. With this work I would like to communicate different aspects that live together, the body evokes, above all, delicacy and sensuality but the spikes of the crane, in an overall view, look like some thorns, some needles for a passive self defence, like a rose.Regarding the delimitation of chromatic areas, I let myself be completely involved by the shape of the body, following its surface and dividing it with lines inspired by the bends and sinuosity.
Paper’s fragility and hand making of each crane have extended the execution of the work, however I think that this aspect has been very useful, allowing me a total view of the work during the performance. A continuously look to the body, in addition to the long hand making of each crane, have enriched the complexity of the work and, above all, I believe that they have preserved the freshness of the shape, particular that I wanted to maintain since the beginning.