carlo fei

My work springs from the meeting of two constituent principles of art history: minimalism and Marcel Duchamp. Geometric indifference and absolute indifference. The first was born, according to Sol Lewitt, minimalism’s main theoretician and advocate, from the reduction of the pictorial landscape to Mondrian’s minimum: square color cells on canvas that might prefigure today’s pixels. Marcel Duchamp used found or ground objects-think of "Fontaine, 1917": a urinal; or the bicycle wheel on the stool (Roue de bicyclette 1913) or the bottle-rack
.-My abstract works are born from this union. (According to the dictionary, abstraction is "a process that tends to replace, with a formula or symbol, the concrete multiplicity of the real.”) The objects I photograph become, with the titles I give the series, minimal entities (minimalism), rather than sentimental or lucid ones (absolute indifference). We constantly observe nature. From the earliest examples of colorful figures on rocks, the observation of nature and its mystery has always interested man's eyes and spurred his need for comparison. The nature I observe is human nature, exercised through the objects that man has produced and still produces, which in turn reveal the depth of our being in the world. I magnify the subjects far beyond their original size, to enhance the view as a natural phenomenon (a sunset, the waves, the eruption of a volcano …). Recycled objects, batteries, children's toys, balls, the names we give these things that last all our lives, talismans, numbers exempted from calculation, insects made of dust, collectibles ...The two series are: "no more, no less" and "made of anything." The first set includes subjects such as batteries, balls, names, landscape (Black Light); the second, talismans, numbers, collectible insects.