Curated by Marco Bazzini and Stefano Pezzato, this show claims to be the most complete and detailed overview of the work of Loris Cecchini (Milan, 1969). Arranged in close collaboration with the artist, the exhibition is characterized by environmental works accompanied by an ample selection of photographs, sculptures and installations dating from the mid-1990s to the present day. Engaged from the very start in the investigation of the object and of space, with this important one-man show Loris Cecchini establishes himself as one of the artists most appreciated both in Italy and abroad.
The display begins with a series of installations/environments, or "exercises in architecture" which develop an idea of the environment by altering the spectator's relationship with it. In this group of works we find the new version of Around and Around, a schematic landscape modelled in three dimensions on the computer and reproduced in perspective as a trompe l'œil grid on the walls of a room. The viewing route follows an enormous traversable volumetric grid that takes after Density Spectrum Zone (2002-2004), installations created by deforming and linking together PVC elements expanding into the space.
For Cecchini the conception and creation of "structures" takes the form of a series of dwelling places and modules entitled Monologue Patterns: Matrici (2003), consisting of sketches created digitally and engraved on grey PVC surfaces, and Crisalide (Premio per la giovane arte italiana, 2005), a sort of artificial greenhouse intended as an area of interchange between natural organism and transfigured architectural form. The Monologue Patterns series also includes the Roulottes (2004-2007): object—environments transformed into "vehicles of light" which project shadows of the network or fretted modular grids which cover them, or else into transparent places containing plants, books and other objects which the public can handle.
The artist's direct relationship with space and his passion for biological morphology is displayed in the expansion of bubbles and the proliferation of organic, molecular or artificial forms produced with metals or plastic materials. He creates the series of extruded bodies in resin, which like skeletons (Morphic Resonance, 2004-2007) or familiar architectural features emerge from the walls and take on the surreal appearance of windows, bookcases and radiators (Gaps, 2004-2009), or else cling to the building in the form of huge transparent balloons suspended in space (Blaublobbing, 2004-2009).
The show then includes the photo-montages of his early career in which, with the photography reworked on the computer, Cecchini creates fictitious environments inhabited by real people, transparent dwellings (No casting, 1997-1999), external views using vivid colours, billowing morphologies of bubbles, transparent involucres (Powderscape/Seedscape/Pigmentscape, 2005-2007), 3D models of trees and photographs of icebergs reconstructed in the studio with invented architectonic models (The painted distances, 2008 e Sliding constructions and drifting thoughts, 2008-2009).
The display begins with a series of installations/environments, or "exercises in architecture" which develop an idea of the environment by altering the spectator's relationship with it. In this group of works we find the new version of Around and Around, a schematic landscape modelled in three dimensions on the computer and reproduced in perspective as a trompe l'œil grid on the walls of a room. The viewing route follows an enormous traversable volumetric grid that takes after Density Spectrum Zone (2002-2004), installations created by deforming and linking together PVC elements expanding into the space.
For Cecchini the conception and creation of "structures" takes the form of a series of dwelling places and modules entitled Monologue Patterns: Matrici (2003), consisting of sketches created digitally and engraved on grey PVC surfaces, and Crisalide (Premio per la giovane arte italiana, 2005), a sort of artificial greenhouse intended as an area of interchange between natural organism and transfigured architectural form. The Monologue Patterns series also includes the Roulottes (2004-2007): object—environments transformed into "vehicles of light" which project shadows of the network or fretted modular grids which cover them, or else into transparent places containing plants, books and other objects which the public can handle.
The artist's direct relationship with space and his passion for biological morphology is displayed in the expansion of bubbles and the proliferation of organic, molecular or artificial forms produced with metals or plastic materials. He creates the series of extruded bodies in resin, which like skeletons (Morphic Resonance, 2004-2007) or familiar architectural features emerge from the walls and take on the surreal appearance of windows, bookcases and radiators (Gaps, 2004-2009), or else cling to the building in the form of huge transparent balloons suspended in space (Blaublobbing, 2004-2009).
The show then includes the photo-montages of his early career in which, with the photography reworked on the computer, Cecchini creates fictitious environments inhabited by real people, transparent dwellings (No casting, 1997-1999), external views using vivid colours, billowing morphologies of bubbles, transparent involucres (Powderscape/Seedscape/Pigmentscape, 2005-2007), 3D models of trees and photographs of icebergs reconstructed in the studio with invented architectonic models (The painted distances, 2008 e Sliding constructions and drifting thoughts, 2008-2009).
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