CONTACT ME:
gioscialudovica@gmail.com
  • Liquid Sky Fits Heaven, 2013, House of Peroni, London. Hand printed and commercial wallpaper, dimensions variable. © Photography Michele Panzeri.

    Liquid Sky Fits Heaven, 2013, House of Peroni, London. Hand printed and commercial wallpaper, dimensions variable. © Photography Michele Panzeri.

  • Site-specific installations (2004-2018)

    Site-specific installations (2004-2018)

    Examples of various types of installations, including the Giant Decollages and Debris series.

    In this section live various types of large-scale site-specific wall based works. Most examples belong to the Giant Decollage series, in which I layer hand screen printed and commercial wallpaper and then rip it back to reveal the strata underneath.
    The Debris series, instead, is created by layering detritus accumulated whilst disinstalling a Giant Decollage.

    The Giant Decollage series was born in 2006, at a time in which my practice was rooted in a contemporary re-elaboration of the Baroque. I was heavily exposed to the latter growing up in Rome and was reading writers such as Norman M. Klein, who in his book ‘The Vatican To Vegas, A History Of Special Effects’ published in 2004, discusses living in the ‘electronic baroque’. Klein sees our ‘informatic’ cityscapes as developments of baroque church interiors: heavily ‘scripted’ spaces that bombard our senses and infuse us with messages of one type or another. In the sixteenth century it may have been about converting you to Catholicism, today it’s about consumption. The wallpaper deployed in this series I screenprint myself, or I source during my travels or on eBay. Their patterns vary depending on what phenomena I may be studying or what I am inspired by, and are often culled from sources of various periods.

    Since adopting my new modus operandi in 2016, the Infinite Present, my practice has significantly evolved. The Infinite Present reflects on the new temporalities that have emerged with the digital revolution, in particular the scrambling of the linear. This has lead to a studio practice that is constantly being reconsidered and renegotiated in which the past, present and future infinitely coexist. The latest examples of my interventions reflect this evolution by including wallpapers that come from the future and appear at my studio, as well as fragments from previous installations and tools used to produce artworks such as screen printing ink, gloves, brushes, sheets of protective plastic etc.