The Pathways to Research
by Alessandro Trabucco
Making research in the field of the contemporary art on a topic so vast and in the same time particular as the light one, without running the risk to be falling onto the didactic, requires dedication and commitment that must obviously remain constant through time and enrich always with newer and newer stimuli as well as continuous targets to reach.
Pretty often, the didactic ones are right the utilizations, in the field of the art, of this still mysterious and ineffable source of energy. We have an example – it really can be said – “bright”, the writings with neon that still nowadays stand out in the best exibitions of the best galleries in the best fairs in Italy and abroad, as if the age of hard and pure conceptualism were never gone by. An up-and-coming generation of contemporary artists express out-of-context (not to say reasonless) phrases through this technology, by now old even for the more refined bars and the more trendy locals. A tenacity in using this instrument that proves to be, honestly, incomprehensible.
The light art in strict sense, instead, has always had as its main characteristic the use of the light as specific medium, ductile material in visible forms (although intangible) of great visual suggestion. The light is immateriality, and as such it can express concepts joined to transcendence, to spirituality, to purity, to imagination.
In this section, up to now, have been introduced artists who use the light in several ways, both as subject and as instrument, but their outcomes overcome such definitions and allow to pool in the same topic works completely different each others, without losing contact with the fixed aim: to document the constant evolution of a piece of research opposite to the prevailing fashions and, because of this, fossilised in outcomes already consolidated by the history, but also destituted of any expressive authority of whatever interest.
The photography is itself the result of a process (originally chemical, now electronic) of recording through the light of a tridimensional image on a bidimensional support. Then, the discovery of numerous photographers who make of light their own main subject has moved my research, started around the middle of the Nineties, on a different plane in comparison with the orthodoxy of the theoretical light art, observing their particular attention towards it, as an autonomous entity worthy of the maximum creative consideration.
But even the sculpture, apparently far from the idea of incorporeity, can self-express through ethereal and impalpable works, as if they were composed by pure brightness, objects close to the idea itself of immateriality. The light is therefore interpreted and proposed by the artists introduced in this section in various ways, always keeping intact their attitude of total respect towards its own nature of pure source of energy, immaterial but visible.