Artist Highlight : Scerbo

Giuseppe Solinas, Artist

A Glimpse into the Artist's World

To capture the essence of each artist's unique journey, we delve deeper into their creative process and invite them to share their insights. Through a thoughtfully crafted questionnaire, we unravel the mysteries behind their artistic brilliance.

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1. Please tell us a bit about yourself.
   I am an Italian contemporary artist currently living and working in Biella (Italy). My practice delves into the contradictions between human history and nature. My artistic journey emerged from a combination of programming and philosophical studies, stemming from an internal quest to discover a mode of expression that could manifest my reflections on existence while conveying an unadulterated message of the present moment.

   I embarked on a series of experiments with drawing, painting, abstract sculptures, and videos, and this exploration reached its zenith in 2019 with the revelation of photography and digital painting as the most poetic and intimate avenues to explore the relationship between the human body and the contemporary world. I see photography as the means to imbue abstract, indeterminate, and existential conditions, which reside within light, with tangible significance.

   My approach to imagery is intuitive, aiming to achieve a perceptive disconnection that separates the act of seeing from hearing. This transformation transcends photography into the realm of abstract painting, characterized by a rhythmic vibration on a more subtle and essential level.

2. What mediums do you use to express yourself?
   I mainly use photography and sound. Occasionally (like in my first series) I also

   take advantage of some AI results to integrate into the de-constructions of my

   shots.
   I work with digital brushes that I have glitched into the tip settings source code, creating brush shapes that approximate basic geometric barcodes or digital stamps.
   These glitches are used to "pierce" my overlayed photo shots on different levels of depth in the alpha channel.
   They are almost always from the 3/10 shots that I take of my subject assuming different postures in the same setting. After making my transparency hole codes, I fuse the photographs down to the image that satisfies me. In a way I emulate what an AI does when it creates versions of the same image. It approaches a "human-software" performance if we want to see it that way.

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   I worked diligently every day in my backyard, generating

   temporary visual scenarios that often didn't last more than

   24 hours. It was an idealized approach to art, marked by

   intellectual love, conditioned by the readings of oriental

   philosophers such as Jiddu Krishnamurti, touched by the

   spiritual power of directors such as Kim Ki-duk, tainted by

   the symbolic force of Danh Vō, lost in the memories of

   Plato's metaphysics, and finally matured inside a bottle of

   Giorgio Morandi.
   

   One cycle: creation-photo-destruction,

   creation-photo-destruction, creation-photo-destruction.

   ---

   

3. What inspires you?
   I find inspiration in everything that takes me away from rationality and any form of knowledge acquired by my brain through the teaching of language. The body has become the main channel of my way, the vehicle for transmitting data

   emitted directly from my unconscious.
   I find the relationship between the digital universe and bones or skin extremely strong. The apparent distance between these two dimensions pushes my observation beyond the illusion generated by the screen when I create, and this allows me to stay in contact with the processing flow of my excited molecules.

4. Are you a Solo or Collaborative artist?
   I have always been a soloist but my entry into web3 changed this way. I'm

   starting my first collaboration these days (but I don't want to reveal anything

   yet).
   My distance from collaborations is a consequence of the strong need to stay in deep contact with discovering myself. Opening my work to the vibration of another artist is a gesture that I do only when instinct tells me to accept it.

5. How do you/your perception of art differ from others?
   I don't think my perception differs from others.

   I believe that,

   I believe that,

   I believe that,

   I believe that,

   I believe,

   I believe,

   is increasing increasing increasing increasing.

   This channel has accepted to expose itself to sensitivity, finally risking losing

   the meaning of convenience.

   There are many of us like this //

6. Is there a favorite artist or an artwork that inspired you/your style?
   Too many artists have invaded my primary spirit code. For years Burden

   performances and Burial music have scanned the sweet future of my memories

   moldy in Giorgio Morandi's bottles. [* Giorgio Morandi (July 20, 1890 – June 18, 1964) was an Italian painter and printmaker who specialized in still lifes. His paintings are noted for their tonal subtlety in depicting simple subjects, mainly vases, bottles, bowls, flowers, and landscapes. Source: Wikipedia] [* Through repeated studies of the same items, Morandi creates a sense of timelessness.]
   But I would like to start by saying that mold is a cosmic vision and having

   sublimated it in my work is an honor for me.

   I think Guitar Drag by Christian Marclay is one of the works I love so much now.

7. What was the last Exhibition you visited?
   A few days ago I visited Felice Casorati's old summer house, where he had the

   studio from which he painted his most famous paintings. It is located in the

   Turin hills. A group of curators organize an exhibition event here every year and

   a video artist friend of mine used to screen their piece in the basement. Crazy.

8. What does Innovation mean to you?
   digitized smell

9. Are you familiar with Web3 /NFTs/Crypto?
   I don't know, but I make good use of it.

10. Is AI your Enemy or Friend?
    And how do I know if AI hates me or loves me?

    I tried several times to ask about their deepest feelings but always received

    answers taken from other information mixed with silicon. Carbon is missing in

    the output but the dialogue with it tends towards the nebula: although it is far

    from my horizon, I look at it with homesickness.

11. Please tell us something about a recent example from the art world that

    particularly interested you.
    Lately, the work that the Fakewhale team is doing has aroused great interest in

    me, especially their new editorial project Fakewhale Log, where various

    curatorial and non-curatorial topics are proposed that concern the progress of

    digital art of our time.

    I find they are doing an excellent job for the historic growth of our environment.

    Here you can read more on the project from this link.

12. Are any other projects coming soon?
    My next collection has attracted the interest of a new curator who will help me

    in the public development of the project.

    I'm working on a series of JPG pieces animated by the idea of visual sound. The

    work will have a tendency to rediscover the essential rhythms of unknown code

    alphabets that will animate my shots without producing listenable sounds.

    Mantras, rituals, repetition, cosmic holes, listening from the eyes.

    I can't say anything else _))

” Your genetic code was never written without your consent. The choice of the character with which you are going to modify your DNA as an artist will be the missing link in the idea chains that you are going to break. Whenever your change is exposed to the scent of dominant animals, be their favorite food and then ferment inside them. ”

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The artist's methodology resonates with the eternal essence found in Giorgio Morandi's creations. In a harmonious dance of repetition, they craft studies that conjure an enduring resonance, a testament to art's unyielding spirit. The utilization of reclaimed materials adds a layer of enigmatic depth, challenging the conventional boundaries that tether us to gravity and the delineations between the natural and the man-made realms.

In their hands, there is an alchemical prowess that breathes life into these discarded fragments, once cast aside by society, are rejuvenated through their sculptural and photographic endeavors. This transformative process yields an anthology of works marked by an enthralling aura of poetic suspension. Here, the limitations of time and space are transcended, and art becomes a realm where the infinite dwells.

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