Orogenesi

(1) Marco Stefanelli

(1) info@marcostefanelli.it - www.marcostefanelli.it

Orogenesi (2019, concrete, resin, acrylic)

A black sliver, echo of a primeval volcanic eruption, as representation of the world and the forces that govern it in. The surface folds and breaks, compresses, creates peaks and valleys, canals, ridges, hills. The submerged telluric forces, generated by a thrust that forms, deforms and shapes, give rise to a tactile and plastic wave. The printed matter keeps the memory of wood to symbolize the plant world that invades and pervades the ground with its roots, keeping everything together. The color, as artificial element, breaks in and draws the line with everything that is not natural: it tells the story of human involvement, rationality and the will to control the seeming chaos of the world.

The publication is available in its entirety as a PDF document. Download below.

Stefanelli_2024.pdf

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Cite this publication: Stefanelli, M. (2024). Orogenesi. In Radical Creativities (Number 1, pp. 22–30). KEA. https://doi.org/10.5281/zenodo.14674631

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Comment 1

The curatorial text accompanying the images of “Orogenesi” offers a compelling narrative of the artwork series. The piece intertwines natural forces with human intervention, presenting a vivid portrayal of the dynamic processes that shape both the physical world and the human experience. I found that the most intriguing point of view and an urgent interrogative we need to face today. The use of materials such as concrete, resin, and acrylic creates a tangible connection to the earth, while the incorporation of statistical data adds a layer of intellectual depth to the series.

I believe the text successfully drives the reader to intend the complexity of Orogenesi, but I personally would have appreciated a more articulate description and I believe this could the artwork achieve an even greater impact.

The role of color in the artwork is introduced as an artificial element that contrasts with the natural forms, symbolizing human intervention. This concept is interesting: could it be expanded to explore how different colors represent specific data points or themes, for example? This would not only provide a richer understanding of the artwork but also emphasize the interplay between art and science.

The process of using three-dimensional scans and 3D printed elements is mentioned, but it leaves me the curiosity to know more about the actual process and the connection between these techniques and the artistic intent. Here follows a couple of questions, as an example, which might offer a reader the chance of a deeper understanding of the process: how does the use of technology enhance the viewer's understanding of the artwork? What about the dynamics and relation between the organic forms of nature and the calculated intervention of human-made structures?

The text could also benefit from a deeper exploration of the possible philosophical implications such themes could lead to address. What does it suggest about the relationship between humanity and nature? How does it challenge or reinforce our understanding of this relationship? Quotations from relevant thinkers, such as Bruno Latour's discussions on the Anthropocene could provide a theoretical framework that enriches the interpretation: “The “anthropos” that is pushed center stage by geologists is not the same passive entity that used to populate the older narrative full of “natural” causal agents. It is a being that is inevitably endowed with a moral and political history. To the great surprise of those who had tried to paint the human agent as a bag of proteins, computerized neurons and selfish calculations, it is as a moral character that human agency is entering the geostory of the Anthropocene. Its entry on the scene staged by geologists is also its exit from the scene of “natural history” (Anthropology at the Time of the Anthropocene - a personal view of what is to be studied, B. Latour - LINK)

That being said, it is also possible that a more structured approach may not align with the author’s intentions, who may prefer to maintain a more open and generalized discourse regarding “Orogenesi”.

Comment 2

Feedback and Suggestions

1. Geological Context and Telluric Forces

   
   

   The use of the term "orogenesi" is a strong reference to the geological process of mountain formation, driven by tectonic plate movements. This concept could be expanded to metaphorically represent the invisible yet powerful forces shaping the Earth’s surface. It would be beneficial to briefly introduce the scientific basis of orogenesis to strengthen the connection between natural forces and the sculpture's form. The materials (concrete, resin, acrylic) could further enhance the idea of a world in constant motion, where solid forms are continuously challenged by subterranean forces.

   
   

2. Memory of Wood and Ecological Cycles

   
   

   The idea of preserving the "memory of wood" is particularly interesting, as it brings in an ecological and temporal dimension. You could enhance this by discussing how plant life, through its roots, interacts with both the surface and the underlying geological layers, serving as a bridge between the organic and inorganic. This could connect to ecological cycles and the role plants play in transforming energy and matter, further aligning with environmental data as a driving force for the artwork.

   
   

3. Color and Human Intervention

   
   

   The introduction of color as an "artificial element" is a compelling metaphor for human intervention in natural systems. Consider elaborating on this by discussing how color symbolizes the anthropogenic forces—such as urbanization, climate change, and technology—that disrupt or alter natural processes. The color, acting as a boundary between the natural and the man-made, echoes the human desire to impose order on what appears to be chaotic. This concept could be linked to contemporary environmental issues, where human impact on the planet is becoming increasingly visible.

   
   

4. Hans Rosling and Data Visualization

   
   

   The quote from Hans Rosling ties in well with the use of data in the artistic process. However, you could strengthen this section by introducing the concept of data-driven art, where environmental and statistical data are transformed into visual and tactile experiences. Artists such as Giulia Cauti are known for their explorations of digital and material interplay, merging technological processes with organic forms. This could align with your use of 3D scanning and data visualization. Additionally, referring to the field of data visualization in art could enhance the audience's understanding of how science informs the aesthetic choices.

   
   

5. 3D Printing and Statistical Elements

   
   

   The application of 3D printed geometric elements onto the sculpture is a fascinating juxtaposition of the organic and the digital. You might consider exploring this tension further by discussing how the geometry disrupts the natural flow of the sculpture, symbolizing the human tendency to compartmentalize and categorize nature through data. In this context, you could reference the work of Selenia Marinelli, who investigates the relationship between nature and digital technology, using 3D elements to explore the intersection of organic forms and artificial interventions.

   
   
   
   

Specific Suggestions for Revision

1. Orogenesi (concrete, resin, acrylic): The description of the surface folding, breaking, and compressing is vivid, but a clearer explanation of how these physical processes relate to geological or telluric forces could strengthen the scientific metaphor. You might also clarify how the materials themselves play a role in this representation of Earth's dynamic forces.

2. The Printed Matter: When mentioning the "printed matter" retaining the memory of wood, it would be beneficial to explain how this symbolic reference to the plant world connects to the environmental data and the artwork’s overall message. Is the memory of wood a metaphor for resilience, continuity, or perhaps the fragility of ecosystems?

3. Human Rationality and Control: The sentence about human rationality and control of chaos is compelling. However, consider adding a more explicit connection to contemporary environmental challenges. How does human intervention, represented by color and statistics, mirror the global struggle to manage and mitigate environmental chaos?

   
   

By integrating these suggestions and references, you can create a more cohesive narrative that emphasizes the relationship between natural processes, human intervention, and the role of data in shaping both the physical world and artistic expression. The work of Giulia Cauti and Selenia Marinelli offers great examples of how contemporary artists are navigating the intersection of organic and digital realms, adding depth to your exploration of orogeny and statistical data in art.

This approach keeps the text grounded in scientific metaphor while also opening up new avenues for discussion around environmental impact and the role of data in art​

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