“I am the space where I am” (Noel Arnaud, in Bachelard, 1969)
Space transforms and overlaps just like memoirs; concrete architectures intersperse with those of memory. From an enclosed world, the studio or the house, we build our anamnesis, memories that juxtapose in the repetition of gestures.
The relationships of the being with space are fundamentals in existence. The housing environment is the same that allows us to dream and also re-signify the past. Every past place searched in the present acquires a new reminiscence.
The works of Amalia Giacomini take shape in this relationship between architecture, audience and time. As in front of a half-open door, we glimpse the possibilities, the unsayable, the unrepresented. We are ahead of time. Looking into the gap is to desire, expect and create new images.
The window is, symbolically, the portal that makes possible our relation with the outside. At a certain distance and protected by the walls, we build from there, for the first time, the world we see. The window uncurtains the eye, it is the rupture between comfort and the unknown; the connection between the place where we are and the beyond of what we see. It is through this that we broaden our vision as an individual who participates in the observed action.
The overlapping images in “memory of space,” reveal a constantly redesigned and rediscovered space, the concrete that, once again, alludes to the construction of memory, the inhabited and reconstructed place.
In the “Entreaberto” (ajar) exhibition, Amalia Giacomini presents her own representation outlines of space representation in the exhibition environment, yet adding the world outside, reflected by reveries and the relations of the public with the object. There is no longer a split between subject and matter. Among the being, the palpable and the illusory, in the works of Giacomini we can recognize ourselves again with space and, in this case, be the space where we are.