«Thus the incorporeal are reflected in the bodies and the bodies in the incorporeal, that is, the sensible world is reflected in the intelligible and the intelligible world in the sensible […] the statues are forms of the intelligible world»
Ermete Trismegisto, Corpus Hermeticum
The space imagined by Andrea Mauti for ADA simulates the fragmentation of a possible archaeology, where the ephemeral dimension of the industrial object adds up and overlaps to the ancient sculptures’ one, generating an annulment of the space-time dimension. Several reproductions of the same sculptural objects are covered with digital residues, which settle on the surface of the canvas, both protecting and preventing the whole fruition of the image.
Engaging a dialogue between sculpture and painting, Mauti simulates a hyperreal and hyper-objectual space, where the objects’ fragmentation is revealed as a repeated unfolding of links between dissolution and the affirmative presence of the myth, adding the ephemeral presence of humanity to the mythological dimension.
The simulation here corresponds to the supposition given by the digital space, within which everything visible is nothing but construction and fiction. The resin and wax sculptures are like finds of an industrial archaeology, packages that once expressed the object’s invisible matter. Likewise, the subjects represented on the canvases are captured by reality, soaked in a digital dimension, to then be returned to the dimension of reality.
In this continuous process of destruction and reconstruction of heterogeneous finds, Mauti simulates a further dimension, within which the space-time coordinates dissolve into the perception of the visible.