Peruvian sculptor Emil Alzamora enjoys exaggerating and distorting the human form in the name of his beautiful and unique creations. His eye catching works serve as manifestations of the pleasure and pain of the human experience, and often display unusually exaggerated limbs and contorted flesh, in order to communicate psychic trauma.
My light installations use the camera obscura as a point of departure. they are immersive optical environments, idealized spaces with discreet openings. in translating the outside world into moving fields of light and color, the projections make an argument for an unfixed notion of sight. motion emphasizes the vitality of these projections. whether through the slow arc of the sun, the kinetic pace of pedestrian traffic, or a sometimes easy pulse of wind, each work responds to an environment in flux.
MIROIR Magazine: There is a spiritual quality to your paintings, what inspires the visions you paint?
Agostino Arrivabene: I think it’s a dimension of suspense and anticipation. Since I was a child, when I lost my mother prematurely, this loss placed me in front of the unknown, and that which abruptly takes life. For me, death, from the start, became synonymous with questions without answers and for a long time death became identified with a voyage without destination, a search towards the unknown. The certainty and conviction in myself grew roots towards that diaphragm that divides the real world from the spiritual. The diaphragm that separates and the vibrations necessary to give pictorial substance to my iconographic world.