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Each black and white symbol in Petrocchi’s newest ebook, Sculptural Entities, strips items in their unique contexts, growing new visible dialogues between historical and recent forms
“The not unusual thread in all my initiatives are images by which reality and fiction coexist, and historical past and creativeness belong to the identical realm,” says 33-year-old, Rome-based artist Giovanna Petrocchi. “This comes because of my trust that there is not any such factor as objectiveness of the photographic medium, even if it’s when it comes to ancient issues. And the identical is going for archaeology: it’s in most cases thought to be a systematic self-discipline as it offers with the meticulous reconstruction of the previous. But for me, fragments, artefacts and antiques all invite hypothesis, and lend themselves to imaginative interpretations.”
Petrocchi is musing on the concepts at the back of her newest ebook, Sculptural Entities. Mixing found pictures of mammoth teeth fossils with the oddly-shaped silhouettes of cardboard, build-your-own dinosaur fashions and puzzles, the collection explores museology and the relationship between organic and artificial forms.
Created via a strategy of virtual collage in photoshop, each and every black and white symbol in Sculptural Entities strips items in their unique contexts, and creates new visible dialogues between historical and recent items. The mammoth imagery was once found on-line from assets together with Google, small collections in the public area, and eBay pages of fossils on the market, whilst different footage in the ebook had been found from inside of Petrocchi’s personal archive of scanned references and analysis.
Petrocchi ceaselessly re-photographs items and museum presentations and then populates those puts with surreal artefacts of her personal making. The roots of Sculptural Entities started in early 2020, and it changed into transparent to Petrocchi early on that the ebook layout was once the absolute best presentation for it, as a result of she sought after to create a fictional catalogue. The artist sought after to create a newsletter of pictures that seem to be repetitive to start with sight, however which encourage audience to note the nuances in form and shape between items and symbols.
Meanwhile, she provides, “a small orange image at the backside proper of each and every composition determine the web page’s numbers of this fictional catalogue and are, in truth, petroglyphs cut-outs from the imagery of prehistoric rocks gathered from the web”.
Petrocchi has at all times been interested by the realm of museology, principally interested by the contradictions and controversies that lie inside of the idea of it. “The goal of museums at the present time is to teach and ‘civilise’ the basic public, however they nonetheless are one among the major symbols of colonial energy,” she says. “And it’s wonderful having the ability to have a look at statues, items, equipment from other cultures all in the identical room on your personal town, however is it nonetheless honest? And what can also be carried out now to present voices again to the folks (and items!) which were silenced so far?” Ultimately, she hopes that her paintings will encourage audience to query the position of museums in societies these days, particularly on the place their artefacts come from and how their histories are contextualised.