Caterina Rossato

Five years ago: two images
(Alexander Scriabin, Prelude Op.16 No.1 in B major)
8’ 48 ‘’ – 2016

I opened the piano after five years, I played the last piece that I was studying and then I closed it. This track records a short time warp in which nothing is more adherent to itself: both the interpreter and the piece can be considered as images.

unnamed

 

In the description of your work, you speak about taking up the piano after 5 years: which is the relationship you have with this instrument?

In 2010, I suddenly closed the piano after 16 years of study: I realized that this love affair was long over and I was just trying to make sense of so many years locked in the house studying. Currently, I do not have any direct relationship with this instrument, but every day I find the same discipline in the way I organize my time.

You also speak of two images: how would you describe these two pictures?
Does the musical shape have a correspondence with the image?

Emanuela Coccia, in his book, La vita Sensibile, describes the images as “all that exists outside of itself “: this flashbacks activates that mechanism of separation that moves
this execution on a totally immaterial level. These two images cannot be compared: they are both photographs of a leap in time and they don’t have connection each other, not even with the present. They exist in a crystallized form and suspended, disconnected from everything. According to me, almost everything is an image: when I look at a landscape I see all levels of which is compound, when I look at a score I see the links between the numbers, heights, the rows and the signs long time before one can hear the music.

In your work there is a constant reflection on the image, in its photographic shape but especially in its physical composition and construction of meaning; it is clear that behind a photographic image there is a deepness beyond the support itself that is separated from its time and crystallizes in that photograph. All this takes a shape and, similarly, receive a shape in a narrative dimension, sometimes in a literary or in a pictorial one but, despite everything, continues to have a relationship with reality with a familiar mercilessness. I’m thinking about your recent collage-works using postcards and fragments of images, where people find themselves to admire an imaginary but daily landscape; where this research is leading you and what are you working on right now?

I create images in which are concentrated all possible visuals and temporal variations of an experience. They are two-dimensional images but developed in a sculptural way, made of levels, intersections, overlaps and joints. The viewer feels a sense of familiarity and alienation at the same time. Right now I’m working on a project with CNC milling machines that will allow me to combine these fragments into a third dimension.