Reality at SoqQuadro

“Reality in SoqQuadro” is a clear exhortation to look at reality from unconventional perspectives-what would happen, the artist seems to wink, if we could follow alternative and ‘disturbing’ associative paths?

Ilaria Occhigrossi

Reality at SoqQuadro

edited by Maria di Pino

 The title of the exhibition “Reality in SoqQuadro” is a clear exhortation to look at reality from unconventional perspectives-what would happen, the artist seems to wink, if we could follow alternative and “disturbing” associative paths? 

Ilaria Occhigrossi's artistic exploration has always invited reflection on the hidden connections between everyday reality and its multiple representations. 

The starting point is always the improbable interaction, or at least not visible at first glance, which her artist soul cannot resist the temptation to translate into visual, powerful, immediate language. 

This exhibition offers a singular look at how images and meanings can reveal associations that often escape common sense. But the artist's intent is precisely to unhinge, to disturb while never betraying his poetic soul. The constant dialectic between formal and visible elements is thus translated into action by making the works never static, representative of a “path,” often physical, emotional, always conceptual, narrative in nature. They are works that tell a story, an idea, a concept that is not exhausted in the secret of the work, but, on the contrary, it surfaces to explode in the surrounding world and end up in the hands of the unsuspecting viewers: the narrative is made by four hands. 

This is what the artist bluntly tells us with this exhibition, Reality in SoqQuadro is not just his vision but is an experience in which we become involved and by which we are called upon to continue the story.  We arrive at the overcoming of the work as a contemplated art object, which implies a freezing of the distance between audience and viewer. In the artistic space of the work, distances are annulled, the viewer becomes an active participant in the production of meaning generated by the work in a continuous cross-reference of extra-textual quotations in themselves implying different semantic codes. And if viewers are called upon to move through a “forest of symbols,” they always do so in the atmosphere of delicate poetry that the artist manages to infuse into his world and reality, and which we suddenly discover has become ours too!

 

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