Vincenzo Fiore Marrese

Portfolio Entry

The pictures you see on this page are related to the process. They don't represent the final work.

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Part of a Research Cluster

This artwork is part of the Coincidental Creatures research cluster, which explores the intersections between artistic practice and living beings. To learn more about the ongoing research and related works, please visit the Research Cluster page.

1. On the Title

The title of the work is a mix of Latin and German.

I derived the Latin word "obscura" from the phrase "camera obscura," which means "dark chamber"[1].

The term "camera obscura," as defined by the Cambridge Dictionary, refers to a device, a space and an effect in which light passing through a small hole creates an image on a surface opposite the opening[2].

According to the Oxford Latin Dictionary, the adjective obscūrus has several meanings: "dark," "Hidden from sight," "(of sounds) Not clearly audible," "Imperfectly known (through lapse of time)," and "Not clear to the mind, incomprehensible, obscure"[3].

The German word "Fähigkeit" means ability or capability[4].

The word "Fähigkeit" is intended to evoke the resonance of the local environment, in which the work is being shown for the first time while maintaining a broader, universal dialogue.

2. Central idea

I've been exploring new ways to collaborate with non-human organisms.

I share one possible perspective, knowing that others will see things differently. This variety of viewpoints is part of the work.

In my perspective, these collaborations unfold as mutual responses.

I show that the actions of non-human organisms matter. I aim to create awareness of their actions in a global context.

In this way, I try to listen to the actions of non-human organisms. At the same time, I am aware of the inherent limitations of understanding a non-human perspective. In turn, I receive creative inspiration.

3. How it Works

This process begins with what I perceive as a coincidence that initiates an interaction between the non-human organism and myself.

I let this influence guide my response in the creative process.

This method helps me acknowledge nature's work without appropriating it. At the same time, I could work with the outcome of traces left by other living beings.

3.1 Example

For example, if a bird leaves a wooden stick on my windowsill, I might use it in my artwork.

I don't seek to impose my meaning on the object but to engage with it in a shared process. I see the gesture of the stick left on the windowsill not as something to take from but as an opportunity to connect. The stick stays what it is. My response contributes to the work, but it does not claim ownership.

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3.2 The Importance of Coincidence

I work this way because I believe coincidence can generate meaning.

Meanings are one of the raw materials in my artistic practice. My belief in the importance of coincidence is central to this work.

I recognise that coincidence may be different for others. Therefore, I see this line of research as a way to encounter even more perspectives on this topic.

4. What sparked the work?

One afternoon, I was chatting at a café about this line of artistic research.

On my way home, I encountered an animal jaw standing outside my door.

The jaw appeared separated from the animal under unknown circumstances.

Different cultures can interpret the presence of animal remains in many ways. To me, it felt like an inspiring coincidence.

This coincidence sparked my creative process and led to the creation of this new artwork. The timing was important because I saw the jawbone right after that conversation.

The jawbone itself is not part of the artwork. The remains of the animal may signify the end of its physical life, but they can also evoke its presence in this world.

In this sense, my focus is on life.

5. Broader Inquiries

I see this line of research as connected to broader inquiries such as Posthumanism, Environmental Art, and interspecies collaborative practices.

The collaborative practice I am working on is spontaneous and unplanned. Randomness plays a role, but it emerges outside of human control.

I consider the actions of other living beings as equally significant as human actions.

The aim is to propose an artistic process that listens to the environment rather than imposing upon it.

At the same time, I remain attentive to the layers of complexity introduced by technologies.

6. How could it work this time?

Seeing the jawbone felt like a coincidence.

Previously, coincidences were associated with clear actions of non-human organisms. My response to the action sparked the creative process.

But how could it work this time? When all I had was a fragment of the non-human presence?

The point is that I was missing the context.

I didn't know why the jawbone was on the street or which animal it had belonged to. I could have tried to identify the animal, at least. Would identifying the animal give me context?

7. The Missing Context Becomes the Artwork Itself

An expert could be able to identify the animal or propose a likely context through scientific analysis, spiritual frameworks, or other kinds of interpretation.

However, as an artist, I think I can expand the field of the assumption, using creativity to make new, hypothetical contexts.

These do not aim to replace or deny existing interpretations. They broaden the very idea of what "context" can be.

Can imagination help illuminate unseen connections or possibilities?

Could imagination be a source of bias or, on the contrary, an open door to alternative points of view?

The missing context becomes the artwork itself, shaping its interpretation.

8. The Key Elements Used in the Artwork

The key elements used in the artwork are seaweed strands, polypropylene thread, and linden strips. I chose each material for its connection to the theme.

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I chose the seaweed because I imagined that the animal that belongs to the jaw comes from the sea.

The idea of a marine origin became more significant, especially given the absence of the sea nearby. The jaw is on the street in an urban context, not close to the sea.

However, one can imagine that the area was underwater centuries ago, or perhaps it will be in the future.

What is the evolutionary history of the animal that once belonged to the jaw? Does their ancestors come, for example, from water?

As we can see, the creation of a context could lead, at the same time, to concrete questions. It shows how complex the relationship between imagination and knowledge is.

The seaweed strands come from seaweed twine. I separated the two strings from the twine to obtain some strands.

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This gesture reverses the industrial process that twisted the natural fibre into twine.

To explore the layered relationship between the natural and the industrial, I intertwined the separated seaweed strands with polypropylene thread to create a hybrid fibre.

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Finally, with the linden strips, I built four triangles.

They are the faces of a tetrahedron, the geometric structure that could remind the spongy bone of the jaw and the lighting trusses where I hung the artwork. The triangles are reassembled in the artwork in an unstable way, showing an unstable tetrahedron, following the main thread of my body of work, the instability of rules systems.

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The choice of the linden tree introduces a form of displacement, contrasting the imagined marine context with the physical, urban one. While the imagined context is the sea, the linden tree was physically present near where I saw the jaw.

9. A Dark Room

The imaginary and the concrete overlap, creating space for different interpretations.

The idea of displacement is crucial. The viewer experiences the work indirectly.

It appears as a picture projected in a dark room, a "camera obscura." The festival curator created this format, and all artists follow it.

In this article, I delve deeply into some reflections on the camera obscura: "The Ontological Shift in Fixing an Image from Camera Obscura to Photography."

10. Deepen the Interplay of Senses

After developing the hybrid fibre combining organic and artificial elements, I used the same technique to create a musical composition.

I recorded the sound of fracturing linden wood, capturing a raw sound.

On this webpage, you can play the sound of cracking wood. I offer it as a document of the process, something extra, not essential to the experience. Some listeners may find this sound uncomfortable. If that's the case, you're welcome to skip it.

The final music composition takes inspiration from this sound. However, it evolves in a different musical direction.

I then layered synthetic tones over it, merging the organic with the artificial. The composition evokes the sensation of a fragment, like a jawbone, isolated from its environment and disconnected from its original body.

The sound plays inside the dark room, forming an integral part of the artwork and a projection into another sensory dimension.

The sound is not a soundtrack but a way to enhance coherence, support accessibility, and deepen the interplay of senses within the work.

In a nutshell, the audience's experience of the work is indirect, mediated through light.

Light enters the dark room from outside, projecting an object placed on a theatrical stage that remains inaccessible to the audience.

The audience also experiences the artwork as sound within the dark room.

11. What this piece proposes

The encounter with the jawbone created imaginative points of intersection between organisms.

Through these intersections, the organisms' narratives intertwined.

The connected stories awaken a creative response. A broken fragment can open new pathways or possibilities.

It's like transferring creative intelligence, similar to how the object in the installation moves from outside to inside the camera obscura, guided by light.

12. Final Notes

Before entering, the audience can explore the artwork statement by reading a printed copy or viewing the digital version on their own devices.

During this work, no living creatures were harmed or disturbed.