AQUA: PAESAGGI IMPERMANENTI
AQUA: PAESAGGI IMPERMANENTI #7, #8, #9 | 1997 | found stones, carrara marble dust, gesso di Bologna | Galleria Graffio, Bologna, Italy
AQUA: PAESAGGI IMPERMANENTI #20 | 1999 | found stones, carrara marble dust, gesso di Bologna | Stazione Leopolda, Firenze, Italy
AQUA: PAESAGGI IMPERMANENTI #22 | 1999 | flint nodule, bamboo, silver leaf, carrara marble dust | Cisterne di S. Maria di Castello, Genova, Italy
AQUA: PAESAGGI IMPERMANENTI #21 | 1999 | found stones, partially gilded stone, carrara marble dust, gesso di Bologna | Palazzo Ducale, Genoa, Italy
AQUA: PAESAGGI IMPERMANENTI #18 | 1999 | found stones, carrara marble dust, gesso di Bologna | Ex Fienile, Castel S. Pietro Terme, Bologna, Italy
AËR | 1997 | installation - 2 elements | STAGNO | oyster shell white, gesso, mica, clay bole, animal glue and tin leaf on linen | 178.5 x 128.5 cm | PIETRA DELL’ACQUA DOLCE | found stone, animal glue, gesso, clay bole, silver leaf | 14.5 x 30 x 25 cm | carrara marble dust
AËR / AQUA | 1998 | installation view | Cubic Gallery, Osaka, Japan
detail - AËR | 1993-97 | encaustic, fresco transferred to canvas, 24kt gold and silver leaf, pigments | 146 x 146 cm | private collection
AËR | 1996 | volcanic rock, silver leaf, gesso, clay bole, animal glue | 11 x 20.5 x 16 cm
AËR | 1996 | sedimentary rock, magnolia petal, silver leaf and powder | 12 x 10.5 x 9.5 cm
AËR: aquitrinum | 1993 | affresco - lime, river sand, pigments on wall | 200 x 160 cm | Accademia di Belle Arti, Bologna, Italy
AQUA: PAESAGGI IMPERMANENTI #7, #8, #9
1997 | found stones, carrara marble dust, gesso di Bologna | Galleria Graffio, Bologna, Italy
When I created a mineral dust installation in Galleria Graffio's courtyard, I was unsure about the appropriateness of this outdoor setting, given the installation’s fragility. On the first day, a bird left drawings on the white field of Carrara marble dust. The second day, wind brought in flower petals from a nearby tree. Insects created delicate line drawings. The third day, a viewer picked up a petal, pondered his act, and gingerly placed the petal back in the exact same position. The fourth day, I noticed moss had begun growing on the work. The fifth day, an intense rain washed away most of the Bologna’s gesso powder and part of the marble dust, laying bare the structure of the work, the stone installation. Nature had revealed itself as my collaborator.
Shinji Turner-Yamamoto's works seem to evoke a very slow, still evolving cosmogony. The stone sculptures, the landscapes of marble powder, the frescoes are the metamorphoses of a world that continues to be born, bearing within the traces of what was. [...]
I lavori di Shinji Turner-Yamamoto sembrano evocare una cosmogonia lentissima, ancora in divenire. Le sculture con le pietre trovate, i paesaggi di polvere di marmo, gli affreschi, sono metamorfosi di un mondo che continua a nascere, portandosi dentro le tracce di cio' che è stato. [...]