Daniele Formica Daniele Formica’s work comes from the impulse to internalize and repropose the universe to its people. Combining cross-disciplinary knowledge and everyday banality he composes a repertoire of linguistic revelations, schizophrenic theories and poetic claims. Through sculpture and performance, Daniele orbits around his repertoire and involves others in such movement. <<It begins with the unsettling feeling of being about to discover something. Intuitions, whims, delusions and realizations are experienced everyday between reason and emotion. They are encounters with the universal unexplainable that keeps calling for my curiosity, seducing my manic imagination. This can happen banally, like suddenly realizing that my dead skin particles are still on my clothes when I don’t wear them; or be very elaborate, like suspecting that the mythical qualities of bay leaf aren’t only historical fiction, but consistent anthropogenic alterations to the essence of the plant itself. As soon as it starts calling, the sculptural process begins: To sculpt is to transform my whims and realizations into physical matter, attempting to breach the gap between the universe’ empirical and epistemological dimensions. First of all, the sculptural gesture has to transpire immediacy. Immediacy is the direct transcendence of a thought into form. So the actual sculpting process happens often very quickly, in a matter of minutes, seconds, a couple of hours or a working day top... and this is very visible in the work. It is not that I want to perform impulsivity, but rather I aim for transparency in the forms around me. Transparency, comparable to clarity in the thought process, is obtained when a sculptural gesture is as close and direct as possible to the original intuition. That is why I prefer fast and obsessive work pace. With and for immediacy, practicing sculpture stretches the limits of transformation. Sizes, mediums and dimensions are specifically chosen and accordingly employed. Transformation comes together with an obsession for a material and form epistemic background. (as philosophy, art and science grow older; the knowledge around materials, forms and phenomena also grows vaster). I believe that the knowledge we possess transforms our experience of the empirical world around us. Combining subjective (memory, friends and acquaintances) and objective data-banks, my research schizophrenically juxtaposes all sort of references to satisfy my thirst for knowledge and contemplate the intrinsic existence of my physical surroundings. This process makes it so that traces of my research emerge through the work as a spontaneous amalgam of multidisciplinary knowledge. With the work founded upon immediacy and transformation, sculpting is experienced through its sensorial, emotional, linguistic and epistemic registers. Handwriting, drawing, cutting, carving, sewing, moulding, appropriation, selection of ready-made, painting and photography are actions found to behold such principles. The sole restriction to the sculptural process is then its proximity to the body, bodily proportions and measures. The repertoire can be seen as an ongoing process manifesting as an extension of the conscious, a physical reconstruction of my mind. I poetically approach it as a cosmological phenomenon to underline its universal motion and its transcendental nature. As music scores, I repeat sculptural processes and interpret new aspects from their registers. As compositions, series of works and processes are selected and combined in installations to test different constellations of a thought and new possibilities of an older intuition. Through this process works often happen to be re-purposed and revisited to stretch even further their transformative potential. Performance comes with a whole new element adding to my practice: the vulnerable declamation, when I publicly reveal a part of the repertoire and demonstrate it to the audience. It is vulnerable because the repertoire is undressed of its physical shells –and so am I, as its medium. It is a declamation because I publicly speak out excerpts of the repertoire -which, as of today, does not exist in written text form, but only in its transcendental form (sculpture).This is to say that my performances are never scripted and that what comes out of my mouth was solely comprehended by producing and looking at forms. Therefore I never rehearse, but only train my mnemonic abilities, diving into my mind to traverse the neural pathways connected to each form and its cluster of knowledge. This traversing, that I like to think of as conscious action of orbiting, is the metaphysical complementary to the actual discoursive performance. Adopting a natural and comforting attitude and an explicative language, I take the audience by the hand to flow together through the open repertoire. In doing so we think together and draw our own meanings, experiencing our human condition of floating in an ever expanding universe somewhere between the stars and the nervous system. Sometimes this metaphysical dimension is also literally part of the performance, like in “The Death of The Death of The Death of BILL” (2019) where particles of my sweat and dead skin are paradoxically sealed alongside my yellow tracksuit; sometimes it is conveyed through the narrative, like in “A chair walks into a house” (2019), where through my voice 7 inanimate IKEA Gunde chairs are transformed into travellers, explorers, invaders, dictators and revolutionaries of domestic social furniture environments; and sometimes it is a combination of both, see “A comedy for 3 Dantes” (2020) where 3 humans wearing red capes and caricatural noses perform a series of improvised conversations and through absurdity, paradox and poetry, they attempt to incarnate Dante himself. >> Formica’s repertoire is ultimately composed with the intention to share his view of a multi-layered and pluridimensional universe; and played for other humans to cultivate genuine curiosity towards life hidden realms. To contemplate is to set in motion new possibilities for the universe’ revolution.
(CV) (Artist Statement)
Daniele Formica’s work comes from the impulse to internalize and repropose the universe to its people. Combining cross-disciplinary knowledge and everyday banality he composes a repertoire of linguistic revelations, schizophrenic theories and poetic claims. Through sculpture and performance, Daniele orbits around his repertoire and involves others in such movement. <<It begins with the unsettling feeling of being about to discover something. Intuitions, whims, delusions and realizations are experienced everyday between reason and emotion. They are encounters with the universal unexplainable that keeps calling for my curiosity, seducing my manic imagination. This can happen banally, like suddenly realizing that my dead skin particles are still on my clothes when I don’t wear them; or be very elaborate, like suspecting that the mythical qualities of bay leaf aren’t only historical fiction, but consistent anthropogenic alterations to the essence of the plant itself. As soon as it starts calling, the sculptural process begins: To sculpt is to transform my whims and realizations into physical matter, attempting to breach the gap between the universe’ empirical and epistemological dimensions. First of all, the sculptural gesture has to transpire immediacy. Immediacy is the direct transcendence of a thought into form. So the actual sculpting process happens often very quickly, in a matter of minutes, seconds, a couple of hours or a working day top... and this is very visible in the work. It is not that I want to perform impulsivity, but rather I aim for transparency in the forms around me. Transparency, comparable to clarity in the thought process, is obtained when a sculptural gesture is as close and direct as possible to the original intuition. That is why I prefer fast and obsessive work pace. With and for immediacy, practicing sculpture stretches the limits of transformation. Sizes, mediums and dimensions are specifically chosen and accordingly employed. Transformation comes together with an obsession for a material and form epistemic background. (as philosophy, art and science grow older; the knowledge around materials, forms and phenomena also grows vaster). I believe that the knowledge we possess transforms our experience of the empirical world around us. Combining subjective (memory, friends and acquaintances) and objective data-banks, my research schizophrenically juxtaposes all sort of references to satisfy my thirst for knowledge and contemplate the intrinsic existence of my physical surroundings. This process makes it so that traces of my research emerge through the work as a spontaneous amalgam of multidisciplinary knowledge. With the work founded upon immediacy and transformation, sculpting is experienced through its sensorial, emotional, linguistic and epistemic registers. Handwriting, drawing, cutting, carving, sewing, moulding, appropriation, selection of ready-made, painting and photography are actions found to behold such principles. The sole restriction to the sculptural process is then its proximity to the body, bodily proportions and measures. The repertoire can be seen as an ongoing process manifesting as an extension of the conscious, a physical reconstruction of my mind. I poetically approach it as a cosmological phenomenon to underline its universal motion and its transcendental nature. As music scores, I repeat sculptural processes and interpret new aspects from their registers. As compositions, series of works and processes are selected and combined in installations to test different constellations of a thought and new possibilities of an older intuition. Through this process works often happen to be re-purposed and revisited to stretch even further their transformative potential. Performance comes with a whole new element adding to my practice: the vulnerable declamation, when I publicly reveal a part of the repertoire and demonstrate it to the audience. It is vulnerable because the repertoire is undressed of its physical shells –and so am I, as its medium. It is a declamation because I publicly speak out excerpts of the repertoire -which, as of today, does not exist in written text form, but only in its transcendental form (sculpture).This is to say that my performances are never scripted and that what comes out of my mouth was solely comprehended by producing and looking at forms. Therefore I never rehearse, but only train my mnemonic abilities, diving into my mind to traverse the neural pathways connected to each form and its cluster of knowledge. This traversing, that I like to think of as conscious action of orbiting, is the metaphysical complementary to the actual discoursive performance. Adopting a natural and comforting attitude and an explicative language, I take the audience by the hand to flow together through the open repertoire. In doing so we think together and draw our own meanings, experiencing our human condition of floating in an ever expanding universe somewhere between the stars and the nervous system. Sometimes this metaphysical dimension is also literally part of the performance, like in “The Death of The Death of The Death of BILL” (2019) where particles of my sweat and dead skin are paradoxically sealed alongside my yellow tracksuit; sometimes it is conveyed through the narrative, like in “A chair walks into a house” (2019), where through my voice 7 inanimate IKEA Gunde chairs are transformed into travellers, explorers, invaders, dictators and revolutionaries of domestic social furniture environments; and sometimes it is a combination of both, see “A comedy for 3 Dantes” (2020) where 3 humans wearing red capes and caricatural noses perform a series of improvised conversations and through absurdity, paradox and poetry, they attempt to incarnate Dante himself. >> Formica’s repertoire is ultimately composed with the intention to share his view of a multi-layered and pluridimensional universe; and played for other humans to cultivate genuine curiosity towards life hidden realms. To contemplate is to set in motion new possibilities for the universe’ revolution.
Daniele Formica’s work comes from the impulse to internalize and repropose the universe to its people. Combining cross-disciplinary knowledge and everyday banality he composes a repertoire of linguistic revelations, schizophrenic theories and poetic claims. Through sculpture and performance, Daniele orbits around his repertoire and involves others in such movement. <<It begins with the unsettling feeling of being about to discover something. Intuitions, whims, delusions and realizations are experienced everyday between reason and emotion. They are encounters with the universal unexplainable that keeps calling for my curiosity, seducing my manic imagination. This can happen banally, like suddenly realizing that my dead skin particles are still on my clothes when I don’t wear them; or be very elaborate, like suspecting that the mythical qualities of bay leaf aren’t only historical fiction, but consistent anthropogenic alterations to the essence of the plant itself. As soon as it starts calling, the sculptural process begins: To sculpt is to transform my whims and realizations into physical matter, attempting to breach the gap between the universe’ empirical and epistemological dimensions. First of all, the sculptural gesture has to transpire immediacy. Immediacy is the direct transcendence of a thought into form. So the actual sculpting process happens often very quickly, in a matter of minutes, seconds, a couple of hours or a working day top... and this is very visible in the work. It is not that I want to perform impulsivity, but rather I aim for transparency in the forms around me. Transparency, comparable to clarity in the thought process, is obtained when a sculptural gesture is as close and direct as possible to the original intuition. That is why I prefer fast and obsessive work pace. With and for immediacy, practicing sculpture stretches the limits of transformation. Sizes, mediums and dimensions are specifically chosen and accordingly employed. Transformation comes together with an obsession for a material and form epistemic background. (as philosophy, art and science grow older; the knowledge around materials, forms and phenomena also grows vaster). I believe that the knowledge we possess transforms our experience of the empirical world around us. Combining subjective (memory, friends and acquaintances) and objective data-banks, my research schizophrenically juxtaposes all sort of references to satisfy my thirst for knowledge and contemplate the intrinsic existence of my physical surroundings. This process makes it so that traces of my research emerge through the work as a spontaneous amalgam of multidisciplinary knowledge. With the work founded upon immediacy and transformation, sculpting is experienced through its sensorial, emotional, linguistic and epistemic registers. Handwriting, drawing, cutting, carving, sewing, moulding, appropriation, selection of ready-made, painting and photography are actions found to behold such principles. The sole restriction to the sculptural process is then its proximity to the body, bodily proportions and measures. The repertoire can be seen as an ongoing process manifesting as an extension of the conscious, a physical reconstruction of my mind. I poetically approach it as a cosmological phenomenon to underline its universal motion and its transcendental nature. As music scores, I repeat sculptural processes and interpret new aspects from their registers. As compositions, series of works and processes are selected and combined in installations to test different constellations of a thought and new possibilities of an older intuition. Through this process works often happen to be re-purposed and revisited to stretch even further their transformative potential. Performance comes with a whole new element adding to my practice: the vulnerable declamation, when I publicly reveal a part of the repertoire and demonstrate it to the audience. It is vulnerable because the repertoire is undressed of its physical shells –and so am I, as its medium. It is a declamation because I publicly speak out excerpts of the repertoire -which, as of today, does not exist in written text form, but only in its transcendental form (sculpture).This is to say that my performances are never scripted and that what comes out of my mouth was solely comprehended by producing and looking at forms. Therefore I never rehearse, but only train my mnemonic abilities, diving into my mind to traverse the neural pathways connected to each form and its cluster of knowledge. This traversing, that I like to think of as conscious action of orbiting, is the metaphysical complementary to the actual discoursive performance. Adopting a natural and comforting attitude and an explicative language, I take the audience by the hand to flow together through the open repertoire. In doing so we think together and draw our own meanings, experiencing our human condition of floating in an ever expanding universe somewhere between the stars and the nervous system. Sometimes this metaphysical dimension is also literally part of the performance, like in “The Death of The Death of The Death of BILL” (2019) where particles of my sweat and dead skin are paradoxically sealed alongside my yellow tracksuit; sometimes it is conveyed through the narrative, like in “A chair walks into a house” (2019), where through my voice 7 inanimate IKEA Gunde chairs are transformed into travellers, explorers, invaders, dictators and revolutionaries of domestic social furniture environments; and sometimes it is a combination of both, see “A comedy for 3 Dantes” (2020) where 3 humans wearing red capes and caricatural noses perform a series of improvised conversations and through absurdity, paradox and poetry, they attempt to incarnate Dante himself. >> Formica’s repertoire is ultimately composed with the intention to share his view of a multi-layered and pluridimensional universe; and played for other humans to cultivate genuine curiosity towards life hidden realms. To contemplate is to set in motion new possibilities for the universe’ revolution.