Video frames | Through my mother’s eyes ( 7:58 minutes ) | 2015
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Il video, mostra un processo di cecità attraverso la trasformazione di un bicchiere d’acqua. Un bicchiere che diventa pupilla dell’occhio umano, che ne mostra la messa a fuoco, le lacrime, le rifrazioni di colore ed anche i suoni del mondo, all’apparenza invisibili si mostrano. Infine lentamente, una polvere violacea riempie il fondo del bicchiere, oscurando così la visione meccanica per arrivare dopo alla luce della conoscenza.

The video, showing a process of blindness through the transformation of a glass of water. A glass that becomes the pupil of the human eye, which shows the focus, the tears, the color refractions and even the sounds of the world, seemingly invisible show themselves. Finally, slowly, a purplish powder fills the bottom of the glass, thus obscuring the mechanical vision to arrive later in the light of knowledge.

Video frames | I Saltatori | 2011


They say that the observer should complete the art work; in the case of Federica Di Carlo this doesn not occur. She herself opens it, dilates it, expands it into space showing the sequel, the unsaid, the depth of the image.

The actions staged by the artist, together with the public, generate a creative event that can give back a totality of emotions that language can hardly carry, taking the observer beyond the image, taking him further.

We only need a taste, an odour, a song to be overwhelmed by emotions and memories. It’s through the five senses that the Jumper re-activates memory. A woolen sweater, a flower, a disc, a sweet, an image: every object recalls the past, taking it back in time and contributing to the construction of an invisible web with the lost person, through the red thread of memories.

Every object, in its tangible materiality, corresponds to the immateriality of a shared moment and, thanks to its mnestic power, ties the bonds between past and present. It is thanks to the continuity of memory, of the permanence of one’s own individual experiences that one’s identity is preserved.

The jumper is an identity that is very harshly tested by grief, that was divided but is now reborn, that

consciously touches, odours, feels, sees and tastes. It does not land on a poppy field anymore, symbol of

oblivion, but on a warm and soft meadow of red wool... Finally ready to REMEMBER.


(The performance The Jumpers it took place during the III Edition of “Un giorno con Fabula” to the Museum of San Salvatore in Lauro, 31 may 2011, curated by Carmela Rinaldi in collaboration with Fabula in Art.)

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