Silvia Camporesi and Michael S. Lee | WHERE ALL BECOME

Where all become

April 19 > May 19, 2012

z2o Sara Zanin Gallery is pleased to present Where All Become by Silvia Camporesi and Michael S. Lee. These two young artists, from different backgrounds and training, share a common theme of becoming and changing, despite their use of different forms of expression.

Michael Lee focuses on the transformation of the environment surrounding individuals. He prefers the representation of urban design through the use of china, while Silvia Camporesi reflects the transformations affecting landscape through the filter of the camera lens and video.

Camporesi and Lee compare and contrast the depiction of environmental changes, projecting their work in the different cultural backgrounds that influenced their artistic researches. Korean origins and architectural studies are easily recognizable in Michael Lee’s work, in both technique and theme. The works represent a dense entanglement of jerky movements and quickness, a sum of actions that each individual makes in relation to their environment. Lee reproduces a place in which each person individually experiences the architectural elements present in the city: flagstone floors, oscillating window glares, and the proportions between the buildings. All inanimate forms take on a dynamic interaction with humans, making sounds and noises that fade within the hectic pace of modern life to become an ubiquitous, yet imperceptible kind of “white noise” as the artist himself defines it.

In contrast, the work of Silvia Camporesi, humanistically and philosophically trained, runs a slow transformation in representing the subtle changes of natural light imprinted in the environment. The landscapes she presents in this exhibition are clear and silent, as if they were suspended in a rarefied atmosphere. Her research concentrated on this matter becomes subject to the actions of transitory elements, such as light and atmospheric conditions. The new element in these works is the use of pop-up or, better known as kirigami. These works consider further possibilities that photography offers through the carving and bending of photographic paper – (the technique known as kirigami) – generating the birth of three-dimensional structures within the image: “In my previous photo projects, I’ve always thought of the third dimension of photography, by browsing in the narrative or the concept; with the kirigami technique, the third dimension becomes physical and tangible.”