LA LUCE CIRCORANTE-循環するヒカリ 展
St.Francesco 教会/Organized by Art Communication
LA LUCE CIRCOLANTE
|It was the start of winter, November 2002.
A city of stone, resting on water, was wakening, only to fall asleep again. A rhythm dictated by tides, night and day. The streets were submerged. Not just the canals were full of water, the little alleys and thoroughfares too, seemed to kneel down for the Aqua Alta (high water). Wading through were men erecting promontories of wood for pedestrians.
As soon as I arrived from the Far East, I went to San Francesco della Vigna. With my curator, Paolo De Grandis, we entered the convent through a narrow door, crossed the little garden, and followed a passageway paved with gravestones to arrive at the cloister - a tranquil space of about 20 square metres.
Looking up at the square of sky, clouds from Africa drifted over. Intermittently, in the breaks between them, there came a light, most dramatic in its effect, which illuminated the space in a wholly new way.
I felt sensations I want to communicate. When I was in the Sahara, it was in the middle of a sand storm that I created the 'The Tree of Wind' from iron. In Mongolia, it was the sound of Winter coming from the Gobi desert that made me create 'The Wind Odyssey', right there the prairie.
So there I was, at that moment in San Francesco, with the light being absorbed on my bald pate; here in this C13th cloister, and I knew that warm feeling for what it was. Inspiration.
Inspiration, like a whisper, telling me that to this old convent, to this city, whose stone heart beats like the slow steps of priests, I would carry 2 tons of glass and 5 tons of iron.
Getting back to my own studio, I immediately started to construct 10 pillars of glass, each 3 metres long, weighing 200kg.
My goal - to make the homeward journey of Marco Polo, in the spring of 2003. To carry these pillars of light and iron back to Italy, there to remould them, ready to install in San Francesco della Vigna.
As of the men of Old Venice, I used my own muscles, with a levers, rollers, and ladders, to construct a tower of light.
In the garden, I raised 'The Luce Circolante', circulating light: prisms of glass and iron that after having absorbed light from the sky regenerate it.
In the passageway, above the tombs, I have fixed to the wall 100 metres of engraved metal sheets. These structures are designed to be sensitive to changes in natural light and recreate a new space from that which pre-existed and had a life of its own.