The works of Amalia Giacomini build a very fruitful relationship between what the historian of American art Rosalind Krauss called non-architecture and not-landscape to define an expanded field of sculpture. For Krauss, the expanded field is generated by the questioning of a set of oppositions, among which is suspended modernist category “sculpture”. She points out that the void, as paradoxical as this statement is, it can be a means of active construction space, it acts as sculpture supporting structure. Especially in the case of Giacomini, this process occurs when it displaces the support of his works from the wall to the space, as in Dobra. With an economy of gestures and methods, this structure grid is exposed in an ambiguous range that manifested appearance and dissolution, expanding the infinite form of space.
Moreover, they realize that in bias there is no external means for support of the work. What definitely supports the work are involved in it own material characteristics, ie, this work alludes to serious notions of impermanence and balance through the use of the material and the organization of their forces. The ratio of the currents with the space and the body of the spectator explain the main point of the work that is a “weight of the statement,” it is he who gives shape, volume and spatiality to work, building an axiom that is crossed by concepts like surface , presence, environment and autonomy of the artwork. Through what constitutes the physical characteristics and work materials or how it presents itself to the world, we experience a new place. In dialogue with minimalism and post-minimalism, in particular with the work of Fred Sandback, it is especially inventive the fact as the line manufactures borders, paths, obstacles, detours, routes, around a tactile three-dimensionality. Non-architecture ideas and non-landscape are also taken up by the fact that as the environment, not just the object itself, is part of the work and definitely brought “inside” the exhibition space.
In a game between light and shadow, opacity and translucency, the clipping of the palace windows and the installation of series screens make now the viewer’s eye doubt about one’s memory that we had that space. The body is again required and placed within that architecture expansion logic, the landscape and the object. Different reading possibilities and spatial manifestation in are proposed. Depending on the incidence of light and the position we take in relation to new targeted work of internal architecture and external landscape is transformed. If the line was the leitmotif of the works that are in the first room to build a spatiality that works with the body, light exercises this office in another part of the show. In addition, the series memory space defines an occupation of a space that is constantly redesigned, repositioned and mostly placed in suspicion. She draws virtual volumes and invites the eye to scroll through them between an empty net, shadows and ranges that run through them. Body, motion, architecture, physics, light and a virtual space construction are artist’s fields of interest. In his works, never the space is perceived as a whole because it is always changing. Doubt about what is before us because they are interspersed screens with space, landscape or emptiness, are currents that arise as drawings in space creating topographies or places variables, material and shapes created by Amalia always suggest an act continuing in that eye and imagination are constantly requested and Crusaders.