”In making art, I take critical stances, and my purpose is always to provide input or a starting point for open discourse.
Transdisciplinarity is fundamental in my art practice, and negotiation is essential to developing my projects.
I consider a mental image as everything perceivable by the senses over different degrees of awareness.
Every art practice produces a mental projection, like a sentence inserted in the text of the contemporary culture of images.
My rhizomatic idea of the artistic medium comes from the poetic practices of cut-up and collage. Through them, I put in relation ordinariness to Knowledge.
This relation starts from a specific context in which my work develops. As a result, the artwork becomes the trace of this process.
For this reason, context shapes outputs, eluding the linear idea of a recognisable style and becoming images inside the iridescent body of my work.
I am interested in the idea of action, interpreted as the generative process in art creation.
Acting generates gestures and retraceable signs in every art practice: brushstrokes of painting or linguistic gestures in appropriation art. Even the physicality of performances or the spatiality of sculptures and installations could be considered gestures.
I adopt strategies that deal with cause and effect, reverberating their influences on the daily world and viewer perception.
I am intrigued by cartesian doubt, which destabilises beliefs but stimulates the research of truth and self-awareness as a rational entity.”
”In my art practice, I take critical stances to provide a starting point for open discourse. Interdisciplinary cross-pollination and negotiation are fundamental to developing my projects. I perceive mental images as everything that can be sensed at varying levels of consciousness. Every art practice produces a mental projection, like a sentence inserted into the contemporary culture of images.
My idea of the artistic medium as rhizomatic comes from the poetic practices of cut-up and collage. Through these practices, I put ordinary objects into relation to Knowledge. The relationship between them begins with a specific context in which my work develops, and the artwork becomes the trace of this process. Context shapes outputs, eluding the linear idea of a recognisable style, and becoming images inside the iridescent body of my work.
I’m intrigued by the idea of action, interpreted as the generative process in art creation. Acting generates gestures and retraceable signs in every art practice, such as brushstrokes of painting or linguistic gestures in appropriation art. Even the physicality of performances or the spatiality of sculptures and installations can be considered gestures.
I adopt strategies that deal with cause and effect, which reverberate their influences on the daily world and viewer perception. I’m interested in the methodological Cartesian doubt, which destabilises beliefs but stimulates the pursuit of truth and self-awareness as a rational entity.”
© Marco Cechet