Digital Sketchbook-Micol Muratori

I explored the fragility of the self through the technique of painting behind of the paper representations of body fragments.   These pieces show the relationship between past and present, since I used images from ancient classical art, mixed with my own imagery and photos, and because they look old and timeless.  I like the effect of the tissue paper when it's glued onto another surface creating a sort of 'wrinkled' surface conveying movement.

Turning failure into success:  Creating a cage with wire I started creating a cell-like piece but turned out to be more of a messy tangle and found it very difficult to create a defined shape. The paper I was working with and the wire have similar qualities in that they both seem very fragile, and present the potential to create images: the wire through lines in real space, while the paper through drawn lines on its surface.  In the end I managed to create a cage sculpture by combining thick and thinner wire. Paper-machè was then used on the wire cage to cover the rough edges. The paper-machè gives it an interesting materiality and organic aspect, less cold and fragile. Caged figure:  I used the cage/ grid to express the concealment and restrictions of the body - feeling of anxiety and restriction-  by creating a figure divided by a grid. Considering the caged wire in relation to the painting: Light projections: I decided to project the cage sha

I used collage to:   -Experiment with transparent paper, and playing with the quality of the paper in different ways -Find strategies to get shapes from the drawing to 'invade' the external space - Double the image through two juxtaposed pictures Here I explore the concept of fragility and (impossible) concealment, using tracing paper as well as the ambiguity of the subject when it is in isolation from its original context.

I started the term with thinking of working with light and shade in a metaphorical way to express opposite concepts such as life and death, interior and exterior world, since I am interested in dualities and in showing two contrasting aspects at the same time. I began by taking photographs of people in dark spaces and making quick sketches from these.  I then turned to the idea of making a Self- portrait showing different illuminated fragments of my own body. I placed the photos in a grid and repeated this by using oil bars, which enabled an effective contrast between white and black, then watercolour.              I particularly like how the white space separating the images created a sort of cell-like effect.                                                                                                 Following this, I decided to create a separate cell with wire and to place it in relation to the image. At this stage, I was thinking more about h

Christian Boltanski The themes Boltanky works with interest me, his practice being centred on humanity, themes of life and death, memory and the ephemerality of life. The central role of memory in his works is reflected in works that are similar to archives and in the use of old photographs. The simplicity of his installations, which at the same time manage to evoke deep emotions, fascinates me. His works convey dramaticity and a discomforting feeling, especially where black and white photographs of Holocaust victims are shown as deprived of their identity through obfuscated close ups of faces.  Lights and shadows have a particularly important role in his works, both in order to convey dramaticity and a deeper meaning. Light, which comes from light bulbs illuminating parts of the piece or surrounding it, represents life and the immortality of the deceased victims through memory, so that their souls are illuminated and metaphorically brought back to life. This made me con

Workshop with artist Emma Stibbon Overall, the workshop and the technique of 'drawing with light' really appealed to me, and I found it fitting with my current experiments and interests in light and shadows. The technique enables to create interesting images in a very easy and cheap way, and lies between drawing- involving the invention of new compositions- and photography- the result is the exact imprint of the objects placed on the paper.  This concept also made me think about absence and presence, expressed by the trace left by something which has touched the paper but is not there anymore. The following are the outcomes of the workshop: I particularly like how the glove turned out- the details of the folds and its sense of transparency