I have always been fascinated by shadows and the history of ceramics.
In 2013 I began studying how I could combine these two an-tique ideas and to this day I am still exploring this con-cept, creating more and more variations.
Virtual Museum#7 is my lastest conceptual installation which has not previously been exhibited.
The idea is to showcase common objects around us: a glass ampoule for the liquor, a lamp, a teapot or a cup represent-ing a stereotype, the simplified and widely shared vision of ceramics.
In addition, objects that represent culture, myth and his-torical memory are also included, like the Portland Vase which is an icon of perfection.
It is still life but also a sort of virtual museum of ceram-ics, with objects representing the history of ceramics, which are kept in the most important museums in the world.
The work returns, in real size, to the silhouettes of ob-jects produced in Faenza between the XV Century and the XVI Century, now preserved in the most important museums in the world, like the Pitcher which is kept at the Metropolitan Museum, or Eggcup, which is kept at the International Museum in Faenza.
This installation puts them together again in a sort of Vir-tual Museum.
The work gives life and existence to shadows, creating "il-lusion" and lightweight ceramic artworks.
They are lit through ambient lighting to create an atmos-phere, straddling the line between art and design that are placed in the environment, enhancing, enriching and creating a relationship to engage the viewer. The pieces stimulate emotions and memories, which act as catalysts for experienc-es, and in some way, encourage dreams. The work is carefully designed on the computer with an anamorphic effect. Part of the work is real, and some thin silhouettes, translucent la-ser cut-outs of sintered porcelain, are attached to the wall at 90°, and under-lit, projecting their shadows — creating a conceptual installation.
Material used is: 0.6 mm sintered alumina, a very translu-cent advanced ceramic