Duilio Forte har sina rötter i både Sverige och Italien. Hans verk känns igen på blandningen av konst och arkitektur samt de kulturtraditioner som finns i hans båda hemländer. Om detta och mycket mer skriver han i Barnebys Gästblogg.

Duilio Forte

Because of my double nationality Italian and Swedish, I think I maturated an unique point of view about art, nature and life style. The practical experience of the Swedish tradition with attention to the nature and simplicity come together with the large scale and complexity of Italian history, culture and art.

From childhood I lived the contrast between the two cultures as a stimulus for finding a creative synthesis, a space-time dimension where the two worlds can coexist. I tried to write about this synthesis when I launched the ArkiZoic movement, on February 12 2009, on the occasion of 200 years from Darwin's birth. The ArkiZoic manifesto traces the guidelines for an artistic style based on the centrality of the spirit of life, breath, Anemos, which from 450 million years ago characterizes unequivocally the planet earth.

Sleipnir Alea Fossano CN

To me, works should own a soul. It’s forms must communicate with people and have to be imperfect, asymmetric and organic like plants, animals and human beings. My method follows empirical rules. Works are improved by trial and error, like natural evolution.

In 1998 I founded my laboratory/brand, AtelierFORTE, in a abandoned textile dyeing dated early twentieth century. During the World War II the area was almost destroyed during the bombing of Milan in 1943. The conversion process is still ongoing, there are at the time some completed spaces, other semi-finished and others still very similar to how they were at the time of purchase. The same ArkiZoic style described in the manifesto admits that every work must not have an end, because potentially it's infinitely improved and modified in function of people and life in general.

Sleipnir Volta Como

AtelierFORTE usually adopts two materials: wood and iron. Wood is mainly used in the development of large buildings such as the Sleipnir series, installations from 10 to 18 meters high. Iron dominates in the plastic sculpture. Binding these two materials together create works with special features. Lightweight structures and very durable yet. Two ancient materials that contribute to the definition of a world projected into the future, with deep roots in the past, history and tradition.

Huginn-Iron sculpture

At the moment I’m really interested in the “makers” movement: this wave of new geek inventors that are able to create fantastic stuff. I’m impressed by these very cheap possibilities. Technology let traditional things communicate with people through little computers connected to web and social networks. For example, now I’m working on some sculptures and installations featuring mini-computers that answer to a special input given by people. Or some objects implemented with a webradio application. It’s like a new kind of participatory social art. I’d like to equip a big Sleipnir, to make it move or react with sounds and lights.

I chose to represent the horse because to me it’s a symbol of exploration, discovery and conquest. It’s also a meeting point between classical mythology and Norse mythology: Trojan horse and Odin horse live in both Mediterranean and Scandinavian cultures. In my works I think it has been important for his influence the work of Jean Tinguely. Especially for his attitude to make huge interactive sculptures and his criticism to the industrial system.

 

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