Orange was the color of the wallsit evolves with a method of de-construction and construction of roles within the family outside of social perspectives, in order to be able to transform, through the use of images, a new domestic palimpsest and a first principle of self-determination. Within the project there are three elements that are used as a metaphor and narrative line; the house, the jewelry box, the dishes.
These three elements act as iconic subjects, the house becomes the spatial container, the jewelery box the emotional container and the dishes become the metaphor of the lack of communication and the attempt to make contact.
How do eye contacts, images, the image as contact, influence the construction of social life? How do you recognize an emotional contamination?(Mitchell)
The image, which differs from photography since it does not depend solely on the photographic medium, has a relational and investigative role within the construction process of Arancio era the color of the walls. In line with the process of social deconstruction there is also a process of deconstruction of the image itself, going and trying to reach the photographic limit. The work develops in images captured from the web, processed using programs such as Adobe Photoshop, zoomed down to their material.
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Already the proposed title,Orange was the color of the walls, encloses a space in itself. A wall, a space, a room, a house. The house is the starting point and the first step towards content analysis. The house is therefore the container par excellence of the domestic community. Despite being the element where the most study has been applied, you never get to see its interior. The studio is a view from the outside, focused on the details and dynamics that take place in the frame of the condominium. The inevitably partial and irreducibly subjective gaze. The observation exercise lasted 12 months and can be defined as an experiment of exhausting one thing or simply the house, of expressing it fully and completely. We soon realize that it is not possible to do it, and perhaps we already know it when we begin, but the attempt remains, precisely for this reason, pure image.
Throughout the project there is a game-oriented mode, a return to the primordial to be able to climb over social superstructures. It is thanks to the game that we are able to be free to self-determination. It is no coincidence that the author tends to play, play seriously. Seriously because you want to explore consciously. In Arancio the focal point was the color of the walls and the point of mediation is that of the relationship, exchange and dialogue even in silent form. The dishes within the project refer to the symbolism of the meeting, of meeting at the table. As in every family, the point of exchange and dialogue is found in the moments when we sit down at the table and eat together. The dishes found in the images and within the space chosen to show the work are dynamic, dirty and non-existent dishes. The dirty dish wants to take up the popular saying of "dirty laundry is washed in the family" which means that family issues must be resolved within the family, without external interventions. Dirty dishes are washed in the family, or simply remain dirty. The dirty plate takes on an almost gargantuan symbolism of hunger, consumption, absence but mainly satiety. In addition to satiety there is an analogy to food as a primary assimilation, therefore of dialogue as an assimilation necessary to be able to feel good with others and with oneself. Along with dirty dishes there are dishes that don't exist. Dishes that are never used, that don't come from any cupboard and that have never been washed. Dishes that don't exist. While dirty dishes highlight the relationship, dishes that don't exist instead highlight the need to have an exchange, so they don't exist because there is no relationship, but exist because there is the will to have it.
Suspended between "semiological thoughtfulness" and Dadaist amusement, the process ofOrange was the color of the wallsit all starts with learning, or re-learning to play, explore, understand and transform. The last act of the project are the six black and white buildings. The six images are the documentation of the construction performance of a new ideological structure. A game for two, apparently simple, aims to outline and define the relationships within family members. By facing each other, each with equal pieces available, a game of trust and compatibility takes place. The constructions were made between:
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- Mother and son
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- Mother and daughter
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- Wife and husband
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- Father and son
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- Father and daughter
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- Brother and sister
Through this game used for childhood to discover shapes and learn to use space, a new way of relating to one another and deconstructing dynamics and roles within the family is implemented. The structure built between husband and wife is very different between brother and sister. It has a wider structure, therefore more stable and does not risk adding pieces that can create stability. Within the childhood game one can find cylindrical, square, rectangular pieces which induce an opening and forward principle and others which include closure, such as the triangular pieces. In the relational structure between husband and wife there are many points of closure, end and need for the structure to be solid and stable. In the one between sister and brother, however, the triangles are used as a decorative function of the base, as if to recall a fort, also a sign of the complicity of the imagination towards the game. Almost all the structures in which the daughter was present are instead outlined by a space in the middle, which in the structure with the father at the top is joined by a sort of bridge between the two towers, while in the structure with the mother the space is evident between the two Towers. The two structures face each other and never touch, they rest on a solid structure.