For MAC in Lissone, Sergio Breviario [Bergamo, 1974] has chosen not to produce an actual exhibition, but rather to display a project designed on location, whose ideal conclusion should be the publication of a limited edition volume.
The photographs showcased within the museum are a result of the Database artist residency programme, which has given way to an exhibition at the Marble Museum of Carrara.
Fascinated by the robotic systems used to treat marble for artistic purposes, during the past months the artist has shot a series of Polaroid photographs depicting the robotic equipment at work, or awaiting to be employed.
Distilling the “modernist dream” of machinery capable of crafting that which the artist can only imagine, Breviario has pursued his own epiphanies within the workshops of Carrara, taking snapshots with a Land Camera 230 that dates back to the Sixties.
Mixing vintage inspiration from the recent past with a futuristic perspective on the present, the artist has derived images – small in size though highly emotional and evocative – which he then reworked in his studio, cutting out concentric shapes and pasting them together freely to form stylised characters – mainly Kings and Queens wearing gaudy ruffs, more often than not staring raptly at the apparitions of flowers and planets that gravitate around them. The artist’s panels are not meant to tell a story, but rather as a chain of situations whose true protagonists are the artist’s illustration and collage techniques. Showcased within the Musuem’s display cabinets, Breviario’s works create a perceptual pathway, which redefines the exhibition space and makes use of spherical lights to articulate the rhythm and volumes of the area.
While technological advancements in marble, granite, and hard-stone processing threaten to replace traditional, artisanal craftsmanship, Breviario has similarly attempted to negate the virtuosity of his drawing talent, the ductus (and deriving dilectus) being chastised through recourse to stencils and spyrographs, producing hypotrochoid and epicycloid graphic markings which create unprecedented images when recombined with the collage cut-outs. Furthermore, the small format of the artist’s works invite viewers to take a closer look, thus establishing an intimate, direct focus on the piece. Breviario’s intention is to attract the gaze inwards, within the display cabinets located throughout the exhibition space and along the walls, where the Polaroid photographs are also showcased within wooden frames whose unpolished grain is accented. Sometimes blurred, other times overexposed, the snapshots convey a personal, unique flavour through their very “imperfections”.