Strings

source: highlike

Work: Daniele D’Acquisto investigates the liminal zone that separates what is real to what is ideal. The artist intends to translate the concepts into objects, where the phenomenological experience become contiguos with the neurological level, since to imagine or to see something stimulates same areas of the brain. With both technicist and analytical approach the artist transforms art into an experimental science; in his Strings he developes the idea of a proliferation of form that dominates the space, expanding into it, defining its parts. “Whenever we are in an empty space”, the artist says, “we perceive the unexpressed potential. The strings are meant to express that potential, by linking the parts and hypothesizing about the shape”. Ideally, the work can grow to infinity like an Ouroboros or a modern Laocoon. Designed as a work in progress, the installation draws a trajectory adapted to connect, to tighten and to adhere objects very different from each other, making them part of an organically structured space, instead of a simple environment generically defined. Alberto Zanchetta.
Image: Strings, bleached wood, objects, variable dimension, w.i.p. 2011-2014, courtesy the Artist & Gagliardi Art System Turin.
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source: nyvoltashow

Daniele D’Acquisto
Born 1978 in Taranto, Italy

Daniele D’Acquisto’s research is never exclusively aesthetic, and has become increasingly theoretical. For years, the artist has kept on questioning himself about the liminal space that separates what is real (the physical phenomena analyzed by science) from what is ideal (the imagination, as used by art). In other words, the artist aims at transposing concepts into objects, through a seamless juxtaposition of the phenomenal and neurological plane, given that the same brain areas are activated when we imagine and when we see things.

The artist spent a long time pondering the question of Material Unaccounted For [MUF]. This awareness led him to avoid any losses during the making process: the waste materials resulting from the finishing of a work were therefore employed to produce the next ones.

The ability of works to generate more works, and to expand volumetrically, was developed through the notion of ‘proliferation’; In order to understand this notion we need to recall to mind the work Permanent Eclipse, created in 2009, where a tree trunk had been dissected and put back together by means of ferromagnetic joints.

Without overlooking specific differences, we can nonetheless say that the installation Strings is the logical continuation of this work. However, rather than modifying an existing model, the artist opted for formal and conceptual diversification, so that Strings can be described as a clade, not a simple clone.
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source: contemporarytorinopiemonteit

The second part of a project by Daniele D’Acquisto, first presented in embryonic form last year as part of FV Prelude (Dust), a project-room where the artist investigated the origin of form. Unlike the prelude, the second part of the project addresses the notion of proliferation in relation to the idea of volumetric expansion, and of the ability of artworks to generate further works. By fathoming the palingenetic and self-creating potentialities related to the motivations for his own research, Daniele D’Acquisto carries out a research (on the liminal space between reality and representation) that connects physical space to its multiple abstract models. Five different series of works will be on view, each of them developing the relationship between semiotic aspects and tangible extensions of the notion of ‘space’. The installation Strings expresses the central idea of the exhibition: the proliferation of form, which appropriates space, expanding within it to define its parts. Among the eight objects wrapped in the ‘strings’, special visibility is given to the frame containing the photo image of Perda Liana (the great Jurassic tower that has come to be the symbol of Ogliastra, Sardinia). The plateau is also included in the series +/- Space, where the landscape has been scraped out to generate empty spaces within the image, trying to restore it to the status of object through the superimposition of back-painted plexiglas layers. +/- Space is also the title of a wall installation, consisting of glasses, pots and glass jugs. Some of the lathed-wood sections adhere to the container’s form, in line with the inclination of the shelves they are arranged upon. The work formalizes a figured model (“the half-full or half-empty glass”), thus pinpointing the dividing line between positive and negative space. Recycling residual material from previous works, the Dust PG8 series gives a three-dimensional look to the dust produced in the studio, which here gets superimposed on the effigies of the 14 pilots of “Group 8” (an astronaut team selected by NASA in 1978), establishing a link with the artist’s (typically experimental) researching attitude. Finally, Desert (Dust) connects past methods with current ones. As in the previous ‘deserts’, the ground shows a mirror-like quality that organizes the chaos of the image. However, while the approach to the work used to be one of total control over form, the outcome is now [in]formed by casualness.
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source: artccessible-territoires-partagesblogspot

La recherche de Daniele D’Acquisto part d’une série de considérations empiriques sur le sujet, et sur les lois qui gouvernent son comportement. Il commence par son intention de transformer la dynamique physique de la réalité en objets capable de transmettre des sens; il s’intéresse aux aspects ‘linguistiques’ des formes (en relation au langage visuel), mais aussi aux implications sémiotiques des objets. L’artiste emploie des procès méthodiques et systématiques, soit digitales soit analogiques(selon les exigences de chaque projet).

Le projet pour cette exposition explore le comportement de la matière dans sa dimension palingénésique, et aussi en relation avec les notions d’espace-temps. La rigoureuse démarche analytique-expérimentale qui caractérise l’œuvre de Daniele D’Acquisto est visible dans les sections tirées de sa nouvelle série Strings (INT), qui sera exposée ici pour la première fois, et aussi dans une série d’œuvres en plexiglas de sa nouvelle mini-série Dust (Pure). Dans le unes, la structure souple des strings envahit l’espace, s’appropriant les objets que s’y trouvent. Dans les autres, les poudres produites par la création des œuvres dans l’atelier deviennent l’objet de l’analyse de l’artiste.