Born in the late 60s, video art is defined as an artistic language that uses video equipment.
For several years, when I was in places that particularly impressed me, I tried to “steal the atmosphere” or the landscape with a video camera. The aim was to use filming to create videos free of rules and without any purpose other than to have fun and experiment.
Inspiration is unpredictable and the video comes from pure chance. How it happened with a rippling water from a puddle on a table, or like the completely dead coral reef of Koh Phangan that unexpectedly came out in front of me at low tide while the boats around produced a strangely melodic ambient music.
In some cases I am literally kidnapped by the aesthetics of a place, as it was in the abandoned country of Consonno or as in downtown Chicago.
In other cases, however, I am fascinated by a detail, such as the trembling of dry thistles exposed to the wind or a neon lamp that emits an inconstant and annoying light.
Filming is just the starting point.
In the production process of these videos, which I like to call “videoscapes“, I also compose a soundtrack. Sometimes I start by processing the sound recorded by the microphone of the camera.
In some cases then I export the soundtrack to separate tracks to react, through scripts, the video effects to the intensity of the sounds. So I build estranged, hypnotic and dystopian environments.
The result I seek is to entertain the user by projecting him into the introspective world, trying to satisfy his aesthetic sense and stimulate his receptive sensitivity.