IMPREINT- semantic

A few weeks ago the artist IMPREINT presented a new project with the sophisticated title ‘semantic’ that will run permanently in the refreshing and inspiring atmosphere called the ‘the space‘. With this new work the artist decided to engage the viewers on single words. I’m here to understand more.

IMPREINT Semantic (1)

How was this project conceived?
– Semantic is part of a bigger idea called ‘en plein air’. I run here this part where I invite the public to focus on a single word, in its meaning and understanding.
– I have the feeling that we are surrounded by a lot of cooked sentences, by many dialogues already prepackaged that don’t give the opportunity to think and reason enough with our mind. My proposal is to restart from the begin, to experience the single word, have a meditation about it, a confrontation on our interpretations and expressions. Minimize and simplify is the base for a better understanding.
The first word is ‘love’, what is love for you?
– An emotion, an instinct to evolve in choices. A synonymous of freedom and contrary of fear. But I’m working on it!
IMPREINT semantic

‘semantic’ – title: love

I found a connection with one of your first works ‘The series of’…
– They have similarity, the other was based in repetitions because I believe repetition slowly signs a trace on us. This is more about reflection and dialogue.
IMPREINT The series of

‘The series of’ – title: love

You told me that you leave the artwork outdoor because: ‘it needs to breathe’. What does it mean?
– They need to dialogue with the universe, take energy, atmospheric events. Like almost all of my paintings, nearly until the end are made in exterior because I need that they ‘conversate’ with the nature. Weather conditions, animals can modifiy my original work, so on the base of this ‘conversation’ I need to accept the transformations and work on it. If you feel and you are in balance it’s really harmonic, differently wouldn’t work because would be just ‘leave your work to the randomness’. It’s spiritual and not only physical, if you allow me.
IMPREINT 3.11.14

IMPREINT 3.11.14

Mentioning ‘en plein air’, what is it?
– In the next period I’ll take basically art actions in the streets. It excites me because I don’t know absolutely what will happen, there is just a general idea.
Is it going to be a sort of street art?
– More an art in the street. I like proposals, not impositions. In my opinion if it’s in public space, you should give the opportunity to the viewer to remove easily your work.
* * *
It’s interesting that an artist embraces the words in such a pure way given the sociological surroundings of this period. This work, semantic in general and this particular one love can be interpreted in many ways. I suppose many of us come up with the question: what is love? And even though the feeling is universal, the answer is so individual. …personally, I love this idea. And what’s the best about it? That it never runs out.

Upward Movement: NS Harsha at Victoria Miro

Yesterday evening opened the second solo exhibition of the artist NS Harsha at Victoria Miro. Rarely I leave Miro’s gallery disappointed, but this time attending was a real pleasure for the eye and for the soul too.

NS Harsha at Victoria Miro

Harsha next to his painting ‘Chamber Concert’

Harsha is an Indian artist and on his works there is a clear imprint of Hindu culture – research for spirituality, inner peace, contact with nature and animals. But they also face the reality of our period: the penetration of technology and industrialisation. What makes a difference in Harsha’s work is the serenity how it walks us through his visions and the gentle, delicate yet distinct brushstrokes. Paintings like Harsha’s are hard to find these days: the well painted self-expression of a beautiful soul.

According to the press release, the artist has cited Beckett’s Waiting for Godot as a point of reference, and the paintings emphasise how a quest for higher meaning sits alongside the absurdity of everyday existence.

Upward Movement will be on show until 25 April in the Mayfair gallery.
NS Harsha at Victoria Miro

‘Why’ – details

NS Harsha at Victoria Miro


NS Harsha at Victoria Miro

‘Only Way Is through Milking Way’

NS Harsha at Victoria Miro

‘Mooing Here and Now’ – details. Image courtesy of Victoria Miro

Weekly Photo Challenge: Wall – IMPREINT’s Self portrait

The Daily Post announce a photo challange every week, choosing a theme and they receive hundreds of curious submissions. This week the theme is ‘wall’ and I’ve decided to submit a photo of IMPREINT‘s Self-portrait because I find it interesting how it transforms the way how we see the both the wall and the artwork itself.

The location of the wall is IMPREINT space.

IMPREINT self-portrait

‘Self-portrait 1’ from the archive of the artist

In response to Daily Posts Weekly Photo Challenge ”Wall

Sotheby’s Bear Witness

Last week I had the pleasure to attend the preview exhibition of Bear Witness in London’s Sotheby’s. The house’s one of the largest ever auction was about contemporary artworks and the gallery was transformed in the spirit. Sotheby’s took a brave step to present the exhibition in this way. The whole evening felt revolutionary and a real pleasure to see and experience. The entire collection belonged to an anonymus vendor whose passion for the modern art was completed by that for the bears and skulls, which have also been auctioned alongside the artworks.

The auction took place on the 10, 11 and 12 of March and I was very curious to see the results. The total sales have risen above £36 million, with higlights such as Rothko’s Untitled (£3.397.000), Gerhard Richter’s Sternbild (£1.565.000) or Lucio Fontana’s Concetto Spaziale, Attesa (£1.865.000).
The details of the auction are available here.
Mark Rothko

Mark Rothko

Francesto Clemente

Francesto Clemente

Kader Attia

Kader Attia

IMPREINT – Cut off

It’s 4 o’clock in a cold Monday morning and I’m standing in Piccadilly Circus. Not a usual timing for a walk in the centre of London – and it’s not even the reason why I’m here.

Among others I have been invited by the artist IMPREINT for a shooting of what I knew not a lot. I come to know that we are here to eyewitness the shooting of a new project titled Cut off. I see a cardboard: simple, hand-written, even shabby a little bit. Cut off, as I learn is connected to homelessness and involves several initiatives. The reason for the shabbiness is that this individual piece is advanced in years, but there is a whole (new) series with the same concept, which will be the protagonist of a series of photos taken weekly in different locations where people live or beg on the streets.

I know a lot of people who are touched by the argument of homelessness, people who volunteer, and yes, I have heard about artists treating the subject. But here something is different. We are present to take photos regarding houseless people, but there is no person in the frame. ‘The picture is sterile, the person is taken outside of it – cut off – with proposition. It’s obvious what happens in the scene. There’s no need to see the faces, we see everyday, everywhere. But there is need to face the fact that people still live on the street and the number of them is increasing.’  It’s a distinguished approach and it makes me curious to know more.

He started the project ‘Cut off’ on the 1 of January in 2015, but the sensibility dates back much further. He has had the idea in 2009, and already handled the argument in the so-called White frame collection and the widely popular project Portraits.  ‘In 2009 I had found myself with the prospective to beg and I was looking with more attention at who was asking, who was giving and I thought that something was wrong. I didn’t see help in this action because nothing changed in the end of the gesture. So I was thinking you should ask for equality, for an opportunity to change your condition but at the same time do your best to make it happen. I created then the cardboard to represent this metaphorically, started to go out to experiment, taking a series of pictures of myself to feel the requested condition – clean-shaven, showered and well dressed.

Many find comfort in self-pity, using, celebrating it. In IMPREINT’s persona there is no sign of any mimosa-personality. I don’t get to know much about the details of this period.  It’s clear that his focus is on the present with a humil observation of the past. This might be what gives him the confidence to declare that we all need to do our best to make a change happen. How would he describe the phenomenon of homelessness then? ‘Embarassing. Like poverty or the fact that children die starving every day.’ For some reason, it’s still present in the society. I try to find out about his opinion, why does someone arrive to the condition of living in the street? ‘It’s a complex and delicate argument, you should talk with someone who works in these social fields. My opinion is that everything start from a pain, a pain bigger than you and that you can’t control.

Though Cut off meets the eye as a photographic project, IMPREINT is a painter and uses photography as a tool of communication. The photo is not the artwork on its own, it’s meant to conversate, therefore I’m pretty sure that there are elements hidden from our imagination ready to surprise us. But how do they conversate and where do they bring us? As for me, they are images with just the right amount of mystery to understand the situation yet make me remember and reason. It’s not necessary to see the tragic image of a homeless, perhaps it would make it even easier to turn the page considering that our eyes are used to it.



Living in a period when everyone seems to be in charge of advices on life – from clothes to artworks filled with cliche-like sentences and guidelines one might wonder if he’s the next one to indicate us how to live, but it’s enough to look at his work to perceive that he always consciously leaves the viewer to arrive to his own interpretations. ‘I’m an artist, my approach is always artistic at first. Started from a concrete idea, I just decided to be there with humility and open mind, to feel and see what happened.’ He is determined to handle Cut off without judgements or the intention to change things, taking his part by bringing attention to the argument. ‘Just showing what is in front of us without any drama, an aseptic approach in the images.’

I understand his points – on one hand if he was able to stand up, so could be everyone. On the other, he questions the society: is it really correct that our accepted process of facing the phenomenon is giving some coins? Should we really be allowed to shrug our shoulders and continue our lives as if nothing was wrong? I do understand his points, yet I still hear the alarm in my head: easy target of banal criticism. When I enter the conversation, his answer is immediate and confident: ‘You shouldn’t think about the critic, it’s the belief in what you are doing that is important. This is the part that you need to understand and clarify very well, if you believe. After, everything becomes natural.’ There’s no doubt, that IMPREINT believes in everything he ever does. His projects with their unique perspectives often challenge the viewers, make us push the boundaries of our own understanding. This certainly has to be the result of his disciplined attitude towards his existence. ‘In my opinion criticize in itself is like protest, is the simplest way and with the fear that someone can criticize or misunderstand, in the end one just finds an excuse to don’t do anything. We spend our life remarking our status and differences. Enough separations between us, ‘these people’ are us!’

from the archive of the artist (2009)

Follow IMPREINT’s the project here.


Have you went to an exhibition and became part of the artwork?

That’s what exactly occurred to me when I went to see the presentation of a work of IMPREINT called I don’t know what you see.

The work is part of an open series of mirrors that the artist makes since the begin of 2013 adapting mirrors that he finds or buys in any format that inspires him. I was asking him about the work and in return he asked me to stand in front of it.

It felt really weird. I was standing in front of a mirror, which happens to people every day, part of our daily life. But I entered in a strange state of mind, transported by the words of the mirror: I don’t know what you see. I was looking in the mirror, seeing myself the way I am, the way I see myself. The words made me understand how mysterious it is: we do our best, trying to bring the best of us, but never know what arrives to the others.
Keeping looking in the mirror I started to look at it, see it in a different way: a serious piece of art, a declaration of an artist: I don’t know what you see. He, as an artist does the same like we all do: working hard, doing his best, but never know how the others see it. How does it arrive to the viewer? There is always a distance between him and his artworks and the observer. Looking at an artwork we always have a first impact, an emotion that is personal and not necessary what the artist wants to display. And that’s what makes an artwork good: the ability to innocently wake up emotions inside us.
IMPREINT I don't know what you see

picture from the archive of the artist