Deeply influenced by Zen and Dadaism both in the Visual Art and performances, I've been exploring the infinite possibilities to bring poetry to new audiences while engaging them into the now-here.
Performing 'The Guidonian Hand' an Auditory Visual life art performance. The channelling crystal was made on the spot with a coat hanger and blue tack.
MULTI-MEDIA VS MULTI-SENSORY |
OTHER ARTICLES
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"If I was born a century before (that's 1865), I would be simply a poet. But as we are in the third millennium I have to define my work as a Multi-sensory Hypertext. This definition it gives me the possibility to dismantle the uncomfortable labels that the art world obsessively try to stick to creative people in the effort to change their talents into a marketable product.
I do photography but I am not a photographer, I do performance but I'm not a performance artist, I do sound art but I am not a sound artist... and so on. I consider myself as (simply) a Poet of the third millennium. I believe poets can now access more than just words when they want to express the inexpressible. As Leonardo put it "words are a poor resource for capturing complexity". Lets try now to define the concept of Multi-Sensory Hypertext. The difference between Multi-media and Multi-sensory is not simple to explain because it requires a change of gestalt. Instead of focusing on the artist it is necessary to focus on the users, the perceivers, what we call using an obsolete term, the audience. With a simple metaphor I would say that the media is the vessel in which the artist delivers the message and the senses are the doors the audience opens to let the message in. The first difference is in the creative act itself. A multi-media artist is focused on the vessel and a multi-sensory artist is focused on the doors. I could create for example a multi-sensory piece of visual art if with that work I manage to stimulate not only the sense of sight but also other senses simultaneously. I could write multi-sensory poetry or multi-sensory performances. Hypertext is a series of texts linked together. In my work I want to create links between productions that stimulate different senses in the audience and that's why I have to call my work Multi-Sensory Hypertext. Substantially I create Experiential Art, because my work is designed to give the audience a specific sensory experience. For example 'Anatomy of a slide show' is not just video-art, but a Visual Experiential Formula. The choice of the images, the pattern of colours and the texts are edited in a way that stimulate the viewer to focus on the sense of sight. The Sound of The Shore and Deliverance are not just video-art but poetry, a new form of poetry that must be called with a different name and Multi-sensory Hypertext is what best define this operation. The presentation life on a stage, art gallery or street, of a Multi-sensory Hypertext becomes a Multi-sensory Performance. I combine Poetry Performance, Life Art and comedy in dynamic solo acts |
Out Of Frame. A very simple visual/auditory installation created for the Dhyanglophone Stage to symbolise the powerful characteristic of sound to generate mental images in the audience.
performing 'C14' with theremin through CaosPad in London during a multi-sensory performance perfumed with lemon grass and neroli. The olfactory performance is pretty much unexplored, possibly because is not technically reproducible
MANO GUIDONIANA - Collage on wall Dhyano 2012.
Example of an Experiential Formula that engage with Sight, Hear and Touch simultaneously.
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