OVERTURE FLASH ART ITALIA ...
OvertureFlash Art Italia October - November 2003
Christian Frosi
By Guido Molinari
In the moment creativity gives form to a finished work, the recognisable signature of the artists starts becoming visible. Nevertheless, in Christian Frosi's case, the artwork's possibility of closure is abandoned in favour of a sliding that provoke a singular loss of the centre, and explores the fascination of the drift. An example of this is the Panda Project fostered in different parts: a graphic composition, two objects and a few photographs. Frosi asked Panda Records, a Thai record company, to let a graphic studio modify their logo. In an ideal connection to the logo; at the Prague Biennial two solids that recall the graphic sign of squared brackets were presented. They were made in transparent Plexiglas, and installed at a certain distance one from another in order to embrace corridors and architectural spaces, visitors and other artworks. In the exhibition he also presented another abstract form, in birch wood, that created a mirror effect on the pavement; the operation ends with the presentation of photographs Frosi took of passers by in Prague caught in casual behaviours.
Considered on the whole, the Panda Records project is crossed by the theme of adventuring in immaterial territories. The logo, as an identifying moment, is subjected to a new formal balance that comes from the attribution of a further stylistic identity. The two squared brackets attempt to grasp the elusive, in a sort of embrace that includes the elements of art making: spaces, people, artworks, and so on. The photographs reveal, for a moment, the slightly hinted directing of the artist. Generally speaking, Frosi tends to abstract his style as much as possible, in order to avoid imprisoning the vitality of his chosen starting points in the cages of a style. It's already a fact that nowadays the unexpected and the endemic instability are no longer destabilising elements, they rather became instruments to use for one owns good. The attempt to identify an observational and active point implies the knowledge of movement within the sliding of sense in reality. Frosi tries to grasp the elusive. An example of this is Colours, still based on an idea related to a process. The artist asked some emerging music bands to send him a promotional photograph, with the aim to research on an atmosphere strongly connected to the live or concert dimension. Frosi intervenes by building on the outside of the photograph a sort of macroscopic coloured sign on a white background that embraces the image. A module applied to many photographs initiates. All photographs are internally put through to an alteration in order to visualise each time one person is closed up and another in the background. Making music, intended as an expression of identity and a projection of expectations is also in these cases the focal starting point. The delicate line that connects psychological tensions to reality are shaken in order to become newly adverted.
In 5, some wooden crates are joined so that the internal sides are eliminated, this is done in such a way to obtain one parallelepiped completely concave, but at the same time constituted by many joined modular units. Again the physical presence of things is only a media used with the purpose of reaching psychological dimensions in continuous change.