Panspermia

Digital art 160 x 160 cm | 2015 |

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The seed of life could have not be born on earth… but carried by a comet of the Oort cloud

The beginning of time carries a lot of mystery whose undisputed charm seems to always move the world’s intellectual activity. Investigating the origins of time appears as an imperative to which the man of art and science, endowed with intellect and sensitivity, can hardly escape. Andrea Prandi faces the eternal question: “where do we come from?” through the creation of a light installation that implies a complex and profound conceptual reasoning. The relationship between the photographed subjects then reworked artistically on video and the light illuminating them becomes a symbol of an energy spreading into space, of an incessant becoming aimed at giving shape to the world. Naked bodies, wrapped in a foetal position, fluctuate outlined by a soft light that seems to accompany their gentle and natural rocking. The luminosity defines the figures while creating connections between them, in a refined compositional element that expresses the possibility of a moment in which it all began through the relationship between the entities that are represented. Then, like in ancient times, light becomes an unexceptionable measure of space and time, capable of deconstructing the real to provide perturbing perceptions that guide the pursuit for profound meanings. The cloud of Oort, reprocessed and turned into an artistic expedient, moving along science, invites to investigate the infinite and to a consequent reprocessing of meaning. Prandi reminds man that they have the innate ability to preserve a secret life within its own inner life, a space to interact with the deepest part of itself that conceals the core of an identity that has an undisputed uniqueness. The movement is the cornerstone of a work of art that, through the hypothesis that life could have reached the planet through a comet, recalls the suspended moment of creation: the gestures fixed in the installation reveal an evident musicality with a rhythm that seems to mark a time that, distant from the past and from the future, is eternal. The cyclic sense of life and its possibility of a continuous regeneration brings about reasoning on the subject of art, on an idea that is a seed and that shall become a work of art through the creative process. The development of intuition is the pivot on which video art associated with the light installation rotates, showing how an artistic artefact is been made. The vitality of the extras, synchronised swimming, and water polo athletes as well as ordinary people, protagonists of the dives into the pool and of the moments in which the photographs were taken and that have been artistically reviewed and placed inside a harmonic composition allowing to represent the artist’s concept, is part of the actual work of art.  The artist sheds light on the relational function of art, a primary and necessary dimension from the moment of its creation. From the initial performance, the work reveals itself as a bearer of dialogue, capable of crossing the boundaries of everyday life and of the individual to reach a universal meaning. Contemporary Demiurge, Andrea Prandi stages a world that is a cyclic metaphor of the artistic process and of the continuous and inevitable pursuit of man.

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