{"id":1565,"date":"2022-01-27T15:19:52","date_gmt":"2022-01-27T14:19:52","guid":{"rendered":"https:\/\/www.galleriaindice.com\/interview-silvia-bigi\/"},"modified":"2022-01-27T15:19:55","modified_gmt":"2022-01-27T14:19:55","slug":"interview-silvia-bigi","status":"publish","type":"post","link":"https:\/\/www.galleriaindice.com\/en\/interview-silvia-bigi\/","title":{"rendered":"Interview Silvia Bigi"},"content":{"rendered":"<h2><strong>Photography<\/strong><\/h2>\n<p>My relationship with photography is constantly evolving. I have an academic background, but in parallel I followed photography courses that were rather conventional, where the relationship with the medium and the image\u2019s new boundaries were rarely discussed. Perhaps that is the reason why I can define my relationship with the photographic image as \u201cgenetic\u201d. To me, the photographic imaginary represents a kind of deviation that should be both the point of arrival and of departure, an imprinting to which I am bound, beyond any attempt at breaking the bond or emancipating myself from it. Sometimes, I realise that I am talking about photography, or suggesting the codes of this art even when I\u2019m not using it: a strong relationship with the image, with its perceptual spectrum and with its materiality, always lies at the foundation of my works, even when it is a textile or a sculptural piece.    <\/p>\n<h2><strong>References (art, literature, music, other)<\/strong><\/h2>\n<p>I believe that my references are \u2013 just like everyone else \u2013 infinite, haphazard, skin-deep. It then becomes difficult to distinguish those which emerge clearly in one\u2019s work from those which penetrate one\u2019s thoughts more subtly, or those which remain simple interests, whilst not materialising in one\u2019s personal research. If I were to draw my self-portrait through the works I have loved, it would be a mosaic composed of: Teresa Margolle\u2019s foggy room (in Vaporisation), Cristina Campo\u2019s essay <em>The Unforgivables<\/em>, Lucio Fontana\u2019s spatial concepts, Sylvia Path\u2019s <em>Unabridged Journals<\/em>, Jung\u2019s Red Book: <em>Liber Novus<\/em>, Rothko\u2019s colors, Ovid\u2019s <em>Metamorphoses<\/em>, <em>The Eyes of Gutete Emerita<\/em> by Alfredo Jaar, Klein blue, Patti Smith\u2019s poems, Yoko Ono\u2019s <em>Grapefruit<\/em>, Barnett Newman\u2019s manifesto, Louise Bourgeois\u2019 drawings, the ending of Joyce\u2019s Ulysses, the gold of Byzantine mosaics, Duchamp\u2019s ready-mades, Gramsci\u2019s letters from prisons, Thomas Ruff\u2019s loud colors in his series <em>Abstract<\/em>, Ana Mendieta\u2019s <em>Siluetas<\/em>, Maria Lai\u2019s threads, Gina Pane\u2019s performances, Wislawa Szymborska\u2019s poetry, Carol Rama\u2019s clothes, Lacan\u2019s thoughts, Kaari Upson\u2019s phenomenal works. Extremely heterogeneous references, to which I could add so much more, but I\u2019ll stop here! There is also a \u201cwild\u201d, crazy and occult side to me: I read tarot cards, I study wild herbs and I am deeply attracted to any experience that pushes, even a little, my limits.            <\/p>\n<h2><strong>Research methodology<\/strong><\/h2>\n<p>My research focuses on the intersection between individual and collective memories: a liminal space which, for me, coincides with the Lacanian \u201creal\u201d: a threshold that reality is constantly trying to repress, but that can be identified by looking through the meshes of any social structure, particularly in its contradictions and anomalies. Even though I use different languages \u2013 sculpture, installation artwork, video, sound, textile \u2013 the dominant theme is often the photographic medium, in its dual nature as an image and an object. Through processes of deconstruction and hybridisation, I construct my alphabet, resulting in a material that, in surprising ways, describes my relationship with the world. In the process of transmutation of the photographic image, I can reach new (and unexpected) forms; or on the contrary, the image returns to its original integrity. Each work has a strong conceptual framework, but the formal value of the piece remains fundamental. Many of my pieces bear an inscription on the back:<em>\u201cmens hebes ad verum per materialia surgit\u201d<\/em>, the dull mind (the man) rises to truth through that which is material. These words, a perfect summary of the meaning of my practice, are inscribed on the door of the abbey of Saint Denis. Diverting the gaze by activating new perceptual strategies: I use images, for they are portals that allow us to enter other worlds.     <\/p>\n<h2><strong>Artistic crossovers and contaminations<\/strong><\/h2>\n<p>Always considering photography in its dual nature of object (physical, contingent, vanishing) and image (available, intangible, infinite), it is inevitable for me to grasp its material and sculptural potential on one side, and its linguistic possibilities on the other, as well as its potential hybridisation with the new media, or with literature, dreams, with everything that goes beyond our own perception of things. In my last work, <em>urtumliches Bild<\/em>, the images stem from stratifications and crossings, and connect the archetypical world \u2013 as well as the ancestral, the origins \u2013 to the language of algorithms. Within the materiality, the reflection shifts to the pictorial and formal qualities of the images produced by machines. To reinforce this feeling, I used papers and materials that evoke the world of traditional printing, such as techniques like lithography and engraving, as well as inks that highlight the brilliance of the shades. Each project is a new opportunity for expanding and exceeding the boundaries of photography, while simultaneously reflecting on the limits of our visual spectrum \u2013 a metaphor for the human condition, for its transience and impermanence. In some ways, my work can be seen as a political act: each characteristic of modernity is in fact inscribed in photography. The photographic image reflects a cultural model that too often appears \u201cnatural\u201d to us, if not the only one possible. Shattering the photographic image can therefore also mean relativising our gaze on things: it can lead to new models of representation, that slowly leave room for marginality, and forge a new model of thought.       <\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Photography My relationship with photography is constantly evolving. I have an academic background, but in parallel I followed photography courses that were rather conventional, where the relationship with the medium and the image\u2019s new boundaries were rarely discussed. Perhaps that is the reason why I can define my relationship with the photographic image as \u201cgenetic\u201d. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1435,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[161],"tags":[],"artista":[171],"class_list":["post-1565","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","artista-bigi-silvia-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Interview Silvia Bigi - Galleria Indice<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.galleriaindice.com\/en\/interview-silvia-bigi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview Silvia Bigi - Galleria Indice\" \/>\n<meta property=\"og:description\" content=\"Photography My relationship with photography is constantly evolving. 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