2019 – Upside down


In our visit to the park, on two hot days in June, we realized how the route of the passage of
Vaia is still clearly visible in the surrounding valley and in the park itself, creating “gaps”.
This led us to reflect on the absence and on how this is physically translated into the experience of a territory,
bringing out two possible ways of working:
vertically, going to fill and somehow to evoke something that is no longer there, or horizontally leaving
emerge the remaining void.
The sculpture in specific as well as every body, “animate or inanimate” that it is, always originates from a relationship
between a full and an empty space, an inside and an outside that envelops or contains it: an intangible shell.
The roots: the heads of fallen trees, they left a hole, a footprint, near which we took
maginati of the sections of a tree thinking it as a “negative”, upside down, upside down; 5 sections as many as they are
the layers of the earth, a sort of topographic map that develops inside the ground.
These layers are formed by panels taken from the trunks of fallen trees, each level is composed of the
semblaggio of different types of wood present in the park, which will be joined together with the technique of kintsugi:
“repair with gold”.
With this project we were asked to reflect on the concept of resilience and transitory nature of things: su
how to enhance the scars and make them manifest.
“The practice stems from the idea that imperfection and a wound can give rise to an even greater form of
aesthetic and interior perfection. ”
This is the process from which it took shape: SUBSOPRA.
A liminal place where you can sit in a circle chatting, playing hide or stop and watch
the horizon: a new point of view, that of trees.


The work consists of 5 levels.
Each level is composed of the assembly of panels, from 3 to 5 of various sizes and different types of wood (obtained
from the trunks of fallen trees) see enclosed hypothesis of cutting.
The panels, 5 cm thick, know how to cut them with 3-axis CNC (numerical control machine), sectioned glued and cali-
brati and united with the technique of KINTSUGI (epoxy resin and gold sheets).
At each level an inclination of 3% (towards the inside) will be given to guarantee a correct water flow, which
it will flow through a hole in the panel at the lowest level.
Each panel will be suitably treated on the surface in order to guarantee its impermeability;
The installation was designed with draining materials in order to avoid rainwater stagnation.

The art and the senses
Every means has its limits:
the music is blind,
the painting is silent
the paralytic sculpture

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