Demo of balance in a State of Grace

Demo of balance in a State of Grace

Does an artwork exist on its own or it exists only as a relationship with its viewer? This is a profound dilemma that Umberto Ciceri seems to solve in his Hypertraits, works that must be looked at while moving. And when one moves, the artwork animates in an indissoluble union with the viewer who, ultimately, becomes the key player of the synallagma; and each time the experience changes according to the state of mind of the viewer and to the ability of the eye to perceive the steadiness or, on the contrary, to the predisposition to be deceived by the illusion of the movement that he/she is creating, by moving around. And the fruition is amazing, so that the viewer is prompted to repeat his/her own movement in order to trigger the artwork, since the kinetic visual perception – as explained in neuroaesthetics – stimulates definite cortical areas of the brain by rewarding them and the sight is satisfied with the magical power to make things appear, as in a miracle.

Ciceri's lenticular works are able to sublimate the paradigm of a still point where there is no dance and, at the same time, there is dance, as the poet T.S. Eliot would say, the still point of the turning world where everything happens by staying still, “immotus nec iners”, still but not inert. So the ballerina is forever caught in the moment of the perfect pirouette which nevertheless results from the deception of our senses, she always moves within the boundaries of her stillness, as the figure on the China vase which “Moves perpetually in its stillness”.
From an artistic standpoint, it is the illusion created by the Hypertraits that makes us place them in the fields of kinetic art and programmed art, both because Ciceri, as mentioned above, puts the artwork in motion by exploiting the viewer's movement, and because the movement is the result of a precise calculation which allows to make formal or chromatic variations, thanks to a careful work of planning and by cleverly using the lenses; the works move between the absolute flatness of the lenticular surface and, at the same time, they display the most intriguing depth resulting from the blurring, or better by a “focused blurring” which is a Ciceri's invention capable to create a strong 3-D impact.

A sensation of pleasure and of disorienting amazement, the one between flat and background, between motion and stillness, which persists and increases even when Ciceri works with pure abstraction, in the so-called square millimeters, where a small portion of the figure is enlarged in a gigantic scale; in this case the space and the time predominate the sight: variations on a theme like the ones dedicated to Goldberg by Bach and which become the title of these floating works.

Unlike the historicized kinetic art, cold and anodyne by programme, Ciceri's works have a great aesthetic impact and enhance – as the great abstract art – a deep spiritual research; so, also the ballerina hides a precise rhythmic structure behind the mere figure, and its rotation around the pivot axis forms an hexagram, so to create a symbolic acceptance that goes beyond the mere representation and animates the work until it becomes a demo of balance in a state of grace.

by Angelo Crespi

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Umberto Ciceri

Umberto Ciceri

Umberto Ciceri - biography
After 25 years dedicated to exploring the visual arts, the biology of sight, the neurophysiology of perception, and the chemistry of colour, pattern, and texture, Umberto Ciceri began creating his own artworks in 2007.

Ciceri has participated in a number of Italian exhibitions, including Art Verona (2008, 2009, 2010, 2011, 2012), Miart (2009, 2010), and Artefiera Off Bologna (2009, 2010, 2011, 2012). His works were also shown at the 54th International Art Exhibition of the Venice Biennale in the Italian Pavilion curated by Vittorio Sgarbi and at the ancient Reggia di Caserta, with a solo exhibition titled "Human Fights Rights Lights" dedicated to human rights with the Patronage of Amnesty International. Moveover, his works took part in many important and international Art Fairs from 2011, such as Art Miami, Context Art Miami, Art New York, Contemporary Istanbul, Scope New York and Art Wynwood.

His Hypertrait artworks are built around the concept of perpetual motion like celestial mechanics, where both movement and immobility are an illusion. The optical and kinetic process of these works creates a translatory motion: the movement of the observer causes the image to move, and the movement of the image causes, in turn, the observer to move. There results an immersive motion within the depths of the perception.

Each Hypertrait experience is unique and dependent upon the precise relationship between the work and the observer, including the of number of revolutions and cycle reiterations. This relationship will always be as unique as each observer's ability to break down and reconstruct the material presented in the work.

Ciceri's trademark blurring technique is created by painstakingly breaking down the focus of each image and then reconstructing it in its elementary colour patterns, a process requiring experience and skill.

Umberto Ciceri uses lenses as a kinetic medium, "moving" in antithesis to immobility acquires an existential meaning: regeneration against stasis. The works enhance the wonder and the hidden drama behind every provisional state of harmony, each collective state of grace.

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At the still point of the turning world. Neither flesh nor fleshless;
neither from nor towards; at the still point, there the dance is,
but neither arrest nor movement. And do not call it fixity,
where past and future are gathered. Neither movement from nor towards,
neither ascent nor decline. Except for the point, the still point,
there would be no dance, and there is only the dance T S Eliot, Burnt Norton

At the still point of the turning world. Neither flesh nor fleshless;
neither from nor towards; at the still point, there the dance is,
but neither arrest nor movement. And do not call it fixity,
where past and future are gathered. Neither movement from nor towards,
neither ascent nor decline. Except for the point, the still point,
there would be no dance, and there is only the dance T S Eliot, Burnt Norton

Demo of balance
in a State of Grace
Sync n. 803 L

Lenticular installation with LED light

Dimensions:
Width 110 cm - Height 110 cm
(43,3x43,3 inches)
Year: 2019

Euros 20.800 + VAT

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At the still point of the turning world. Neither flesh nor fleshless;
neither from nor towards; at the still point, there the dance is,
but neither arrest nor movement. And do not call it fixity,
where past and future are gathered. Neither movement from nor towards,
neither ascent nor decline. Except for the point, the still point,
there would be no dance, and there is only the dance T S Eliot, Burnt Norton

Versus Sync n. 1144

Lenticular installation

Dimensions:
Diameter 160 cm
(63 inches)
Year: 2019

Euros 33.500 + VAT

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Versus Sync n. 1142

Lenticular installation

Dimensions:
Diameter 90 cm
(35,4 inches)
Year: 2019

Euros 17.400 + VAT

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Hypertrait Female Sync n. 1060

Lenticular installation

Dimensions:
Width 110 cm - Height 170 cm
(43,3x67 inches)
Year: 2019

Euros 29.300 + VAT

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The stillness, as a Chinese jar still
Moves perpetually in its stillness T S Eliot, Burnt Norton

Hypertrait Visibilium Sync n. 1042

Lenticular installation

Dimensions:
Width 80 cm - Height 80 cm
(31,5x31,5 inches)
Year: 2019

Euros 13.500 + VAT

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Demo of balance in a State of Grace
Sync n. 1322

Lenticular installation

Dimensions:
Width 30 cm - Height 30 cm
(11,8x11,8 inches)
Year: 2019

Euros 5.100 + VAT

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Demo of balance in a State of Grace
Sync n. 1323

Lenticular installation

Dimensions:
Width 30 cm - Height 30 cm
(11,8x11,8 inches)
Year: 2019

Euros 5.100 + VAT

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Hypertrait Qualia Sync n. 1254

Lenticular installation

Dimensions:
Diameter 130 cm
(51,2 inches)
Year: 2019

Euros 26.500 + VAT

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Hypertrait Goldberg Variations
Sync n. 1349

Lenticular installation

Dimensions:
Diameter 116 cm
(45,6 inches)
Year: 2019

Euros 21.100 + VAT

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