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sculpture

  • Alchimia: 2011, legno di larice, tintura, cera. Dimensioni: 70x43x25 cm circa.

    Alchimia (en. Alkemy): 2011. larch wood, tint, wax. Dimensions:  70x43x25 cm about.

  • Title: crescita frattale

    Technique: bronze

     

     

  • Tite: Dodici stati di un ricordo nel tempo e nello spazio

    Dimensions: 31 x 40 x 37 cm

    Year: 2016

    Technique: Polyester resin, epoxy, fiber glass, acrilyc, oil.

    Artwork presented al premio nocivelli

     

     

     

  • Ecotopia of art is an interactive kinetic sculpture that uses the most advanced technologies of the "augmented reality". In the sculptural work, there are two elements that come into mutual dialogue: A part abstract, geometric and another part irregular, natural and organic. On the one hand shape analysis is pushed toward rational construction, and secondly the evolution of form occurs through accident, the norm deviation, the whim. Rational and Irrational, which are in opposition, but perhaps always two models, two constructions of the mind. The work is with a feature not finished. As some architectures never ended - in fieri - which could take the greatness of a magnificent work but instead express the composed decay of the time. The reality which - without negative or positive shades - virtually offer endless possibilities to interact and develop. Malevich wanted to reach the zero to re-establish forms of art and art making, the "Architectona" which in part inspired me and inspired contemporary artists and architects such as Zaha Hadid, express the vision of a new world with which to re-start for a new life. Extraordinarily Malevic's sculptures-architectures have an internal structure of organization which recalls the structures of the natural growth, that science and modern mathematics called fractals. These together with the Chaos theory are a key to describe the natural world which escapes its definition at every attempt of reduction. Fractals are description in a key geometrical-mathematical of what is irregular fragmented, that escapes the regularity order.

    The disorder becomes order.

    It's clear that this is also a reductionist model, although it is very extensive, it is always a reduction. This is a crucial point that we must consider: Ecology is or is not a reductionist model of reality? I asked myself this question while preparing the thesis and the work I produced. The ecology discipline that looks like a "holistic" really says Nicola Russo in "ecology and philosophy" is also a scientific model, and like all models tends to "reduce" the real into something representable. So my intention was to focus the work on this issue and the urgency of a change in society and the human being in the context of environmental crisis and ideological. The ability to send messages through the work on Twitter, it makes also a work of "generative" art . A text and an image taken from the screen are sent, once pressed the blue button. The text covers topics on the environmental crisis, ecology and making art and being an artist. Text is assembled in a pseudo-random manner before being sent to the Twitter's server . In this way you create new connections and associations in the text as a surrealist process of literary creation. The user can move the movable parts of the sculpture, where some "markers" are placed that is, geometric patterns which are used in the "augmented reality" for their efficiency to be recognized. Moving these parts, creates changes in the screen placed in a closed box with a hole, from which the visitor can see what is happening. May appear depending on the marker identified by the software, a "mesh" 3d, text, or particle effects.

     

    "Ecotopia of art" is not a point of arrival but rather a work that opens up new possibilities for further developments in the field of interactivity, augmented reality, and the sculpture itself.

     

    "Ecotopia of art" was my final work for the thesis of the two-year specialization in sculpture at the Academy of Fine Arts in Bologna.

     

    Dimensions: 150x45x175 cm.

    Materials: Wood, acrylic paint, printed paper, polystyrene, acrylic, fiberglass, Vaseline streamlined.

    Hardware: ODROID U3, RaspberryPi, stereo speakers, wifi router.

    Software: OpenFrameworks, Supercollider, Ubuntu OS 13:10 (for ODROID U3), wheezy raspbian for RaspberryPi

    For more info visit this page: http://www.kalwaltart.it/home/en/blog/articles/item/8-ecotopiaofart

    More technical info about software hardware soooon!

     

    Ecotopia of art from Walter Perdan on Vimeo.

    video about "Ecotopia of art" interactive, kinetic, sculpture with augmented reality.
    go here for a description: http://www.kalwaltart.it/home/en/artworks/new-media/interattivita/ecotopiaofart

  • Grande madre: bronzo, dimensioni 21 x 8 x 6 cm.

    Grande madre: (en. Big Mother) bronze, dimensions  21 x 8 x 6 cm.

     

  • Title:Il castigo

    Dimensions: 20 x 80 x 10 cm

    Technique: wood, acrilic colors, crayons, markers, string.

     

  • Titolo: L'ombra
    Misure: 167 x 100 x 187
    Anno: 2017
    Tecnica: legno, acrilico, collage, sisal ed altri materiali

    Descrizione: L'opera vuole essere un omaggio al romanzo "La fine del mondo - il paese delle meraviglie" di Haruki Murakami. Su ogni lato della struttura in legno c'è una frase tratta dal romanzo, tranne la frase "Qui giace la mia ombra." . La scultura sospesa e quella appoggiata a terra vogliono rappresentare una sensazione generale del romanzo, il cuore rubato dal vento, un rumore indefinito, il lago....

    For other informations visit Artmajeur.

  • "Poetry, of the little things, nowhere" is a small interactive installation.
    Poetry, art can manifest in any form. It can be elusive, almost intangible, ethereal and heavy as a poem in a few verses. We should close our eyes of habit and open those of the side glance, incomplete, but perhaps more truthful. A sculpture what can it be? Always arises as a "cloud" in the mind of the artist. A virtuality of promises, which can take many routes. He has a brief appearance in this world, but since it appears can change radically. Although fragile and delicate, is intended to upset him. Think of the sculpture as a small firefly that gradually lightens your fears, gives for a very short time (with respect to infinity of the Universe!), a flash of genius. I would like to think of sculpture as something tangible and intangible, which can live only with the contribution of the user-active spectator. Careful to handle the object, but also with a feeling tense to grasp the delicate poetry of this act. Art can not exist without the artist and even without an audience. "Poetry, of the little things, nowhere" fits into this space, the border area, limit probably between art and non-art. It is a dangerous game, a joke clown you could say between the serious and the humorous. But it's the risk that run all artists, explorers and researchers. Do not be offended for so little!
    I hope that, somewhere around, there are many hunters of dreams, which are able to capture a large amount, the sculpture is ultimately one of these...

     

    Technical overview:
    A moving part can be handled by the user-viewer and be placed in front of the other part of the installation, close to the webcam. The captured images are processed by a small computer the size of a credit card. Thanks to a software of Augmented Reality, where there is a specific geometric pattern black and white (so called "markers"), is superimposed on the small screen as a three-dimensional virtual blue extension of the sculpture physical and material. To develop this software I used an open source project: OpenFrameworks openframworks.cc on a card raspberrypi https://www.raspberrypi.org/

    This work  partecipate in the Celeste Prize 2013: http://www.celesteprize.com/artwork/ido:214568/

    Trieste, 2013

    Mixed materials, wood,  acrilic colours, paper printed, raspberrypi (micro-computer), webcam, display lcd 2,5".

     

     

  • Respiro cosmico: 2011, marmo di carrara. Dimensioni: 55x30x30 cm.

    Respiro cosmico: (en. Cosmic breath) 2011, Carrara marble. Dimensions: 55x30x30 cm.

     

  • Title: sinfonia di primavera

    Dimensions: 25x18x17 cm

    Technique: wood, acrilyc colors.

     

     

  • Title: strapiombo

    Dimensions: variable:

    "Verso l'alto" dim. 100 x 130 cm;

    "Braccio" dim. 100 x 130 cm;

    "Mano" dim. 100 x 130 cm;

    "Beta" dim. 20 x 30 cm;

    "Strapiombo" dim. 200 x 120 cm.

     

    Technique: mixed

     

  • Sublimazione: (en. Sublimation) 2012, wood larch, watercolor, wax. Dimensions: 105x27x16 cm about.

     

  • Title: The Tiger never follows the Square

    Dimensions: 40x62x3 cm

    Technique: acrilyc colours on plywood

     

    The Tiger never follows the Square from Walter Perdan on Vimeo.

     

    This work can be augmented using this link:

    kalwalt.github.io/interactivity/tiger

    You can see an extra 3d part onto the sculpture.

     

     

     

     

  • Title: Trapasso

    Dimensions: 25x75x30 cm

    Technique: wood, shellac, pigments, wax.

    Year: 2017

  • Vortice lobacevskijano  (Lobacevskij's vortex) 

    Dim: 35x60x35 cm

  • Vuoto iconoclasta:(en. Iconoclast void) 2007, Carrara marble. Exibition at “Arte senza frontiere, l'anima del mondo nella

    scultura”,l L.I.A. Rovereto(TN). Dimensions: 30x35x35 cm about.

     

 

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