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La Terra Trema - Visconti 1948, 100 x 120 cm.
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Fantozzi - Salce 1975; “Tsunami”; 80 x 80 cm each.
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I Soliti Ignoti - Monicelli 1961, 100 x 70 cm; “Seismic Map”, 70 x 50 cm.
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Don Camillo - Gallone 1955, 100 x 70 cm; Un Americano a Roma - Steno 1954, 50 x 60 cm.
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Vulcano - Dieterle 1950, 60 x 60 cm; “L'Aquila Zona Rossa”, 50 x 60 cm.
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La Dolce Vita - Fellini 1960, 60 x 60 cm; “Plate Tectonics”.
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Che ora è - Scola 1989, 70 x 40 cm; “Seismic Movement”.
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L'Avventura - Antonioni 1960, 30 x 40 cm; “Sediments”.
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La Strada - Fellini 1954, 30 x 40 cm; “Seismic Activity”.
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Lina Wertmüller, 30 x 40 cm; “Seismogram”.
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Per un pugno di dollari - Leone 1964, 30 x 40 cm; “Seismic Waves”.
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C'era una volta il West - Leone 1968, 25 cm Ø; “Plate Tectonics”.
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Floor collage on cement floor.
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Floor view.
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Movies on trowels.
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Waiting For The Next One (Aspettando Il Prossimo)
This is a body of work concerned with understanding Italy’s relationship with earthquakes, utilizing imagery from Italian Neorealist cinema, which portrays: truth, naturalness, authenticity and documents and confirms the great Italian ability to re-present the real.
The images in this body of work ask these questions: is passively waiting, and not preparing for earthquakes, particularly Italian? Are Italians somehow attached to the drama connected with tragedy? I have chosen frames from Italian movies that seemingly catch Italians in the exact moment of recognition that something is about to happen. I place these images alongside more abstract images of seismic activity, intending to put Italians face to face with the earth beneath their feet. This work was presented in Gibellina, a town wiped clean by an earthquake in 1968 and turned into Alberto Burri’s famous land art I Cretti (the cracks), which covers the town like a shroud.
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