Installed in modules, the works on display constitute abstractions of the home, overlapping with, and transforming the exhibition space. Entering the gallery to see the works thus becomes a metaphor for a transition into an “other” space, which is essential if one is to make meaningful contact with them.
At the heart of Francesco Barocco‘s (b. 1972, Susa) artistic research is a constant and contemporaneous preservation of, and interference with, the history of images, which are to be viewed as a source of knowledge. Adopting this approach, the works take shape through juxtapositions and affinities, bringing out the power of the symbol through their open, allusive nature.
This multiplicity of references has another front in the constant wavering between the various media that the artist uses to create his works, taking them to their ontological extremes. The terracotta sculptures thus become not just a support but also an integral part of the drawings, with the engravings recalling the sculptural dimension of the printing plate, including forms of zinc. For their part, the pencil drawings open up to the randomness of spray paint and to a whole new level of interpretation through the inclusion of cuttings from photocopies.