Manuel Gardina

(b.1990, Italy, lives and works in Brescia) is an artist working with  visuals and sculptures, playing with neural networks, time and the perception of the subject. He employs assets of 3D animations, archives and physical sculptures.

Projects
  1. Videotapestry
  2. Aerial
  3. Extraction
  4. Twin Tendrils
  5. T.F.T.S
  6. Sculptures

NFTs
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+39 331 4178275
manuelgardina@gmail.com
Manuel Gardina

(b.1990, Italy, lives and works in Brescia) is an artist working with  visuals and sculptures, playing with neural networks, time and the perception of the subject. He employs assets of 3D animations, archives and physical sculptures.

Videotapestry / 2021

3D Sculpture - Videomapping 


Presentation





Stills



Documentation

Videotapestry is an abstract collage capable of condensing the information obtained from databases of images, pictures, videos, sounds into a moving digital image. The result is intricate and teeming tapestries of light that animate the space with their oscillations. They are ephemeral and at the same time strong in their immateriality, which allows them to potentially adapt to any space.
Indeed, each Videotapestry lives in its substance as a digital work but is designed to free itself from the virtual space of the screen, going into the physical world as a site-specific projection.
Here comes the idea of changing the project appearance, transforming Videotapestry into a work of archiving the memory of places which gives back that same memory to those same places in a new form: dismembered, decoded, and re-assembled in unpredictable abstract configurations.
I have always been fascinated by the practice of videomapping, large natural sculptures and wall paintings. These works are able to change the landscape and they often and willingly change with it over time, creating a real harmony with its elements and then leaving only a trace of their passage.

Critics 

Technical principles: or how to effectively manipulate the virtual space of becoming

When dealing with a virtual space, where the concept of “ephemeral” and the material output are two elements that have equal rights, are always locked in a state of negotiation, permutation, and dialogue and are always juxtaposed partially or completely, we must always keep in mind a pre-compositional behavior or action. This means they should not have a kind of grouped, linear body, but rather a lost and indecisive nature. I would say a sculptural nature and a series of stumbled actions that are taken with a clear purpose at certain small and varied time intervals.

We should keep away from loose and unclear actions and hand movements and from rapid, episodic, clinical, and decisive actions.
Away from linear transitions, from predictable actions learned from the hand, in the sense that these actions and transitions must be as casual and disjointed as possible; as fragile and “blurry” as possible. However, just at the right moment, a touch of the clear and precise direction must be inserted into the continuous and disjointed mass movements.
Virtual space is a mass of unpredictable and rapidly moving probabilities, in which the “form” or matter shows itself, through the act of the space that is shaped in order to create a “pocket”.
This “pocket” is the body of the form. Here, each element and its quality are tightly packed together, forming energetic, unstable, and almost “telegraphic” linguistic connections.
In physical reality, there is a large gap between these connections. However, here within the abstract form's body, in the crease of the virtual space of probability, these gaps become very small, much closer to each other.
These situations require an analysis since they are the very essence of pure form, its inner purity, its power of evocation.
The artist, or manipulator, can “pull” or “drag” the virtual space and the crease or the pure abstract form out as a material possibility. So, his technique is to drag or “pull” (an act of selection, of exclusion accomplished by the artist's perception) from the great reservoir of matter. He let them swirl and interact with their surroundings, the forms and the places where the most intense and narrow quality interactions take place, in the most energetic and uneconomic way and without visible effort.

The W.B. Goodman Project


 










Mark