"Meine Weltanschauung" is the first stage of the project "Erbematte Home Edition," starring the Sicilian painter Samantha Torres, an artist able to cross the entire spectrum wisely with the delicacy and elegance of a gray scale, giving the public filmic shots recorded on a film very dusty.
"Home Edition" is absolutely essential first and foremost an idea generated by a constant dialogue between artists, curators and friends and finds fulfillment in a series of projects that glorifies a flexible and experimental approach to an intimate definition, home. The first of these projects is "Things to females," not an investigation into the female world, but a clarification on a particular modo di fare e di intendere la vita. Samantha Torrisi è quindi la cavia prescelta, coinvolta in una sorta di performance, disegnata con la curatrice Raffaela Leone che sottolineerà simbolicamente lo spostamento d’attenzione del duo curatoriale Erbematte, da progetti creati per luoghi esterni a progetti creati per un interno, o meglio, home specific. Una delle tele in mostra, sarà infatti precedentemente filmata lungo il percorso che dallo studio di Samantha giunge alla sede dell’esposizione. La strada, intesa come percorso fisico e mentale, è la linea guida dell’estenuante ricerca di Samantha, elemento che non solo formalmente sembra ricordare “Una storia vera”, pellicola diretta nel 1999 da David Lynch che vede the protagonist cover a distance of 386 km to the edge of a mower to reach her brother. Original title of the film is "The Straight Story" or the story straight, in reference to the route taken by the protagonist, but also the linearity of life. A horizontal path easily traced in the paintings that seem to push the viewer to look forward without looking back, poised between an escape from someone or something and the achievement of a goal, although completely abstract. Atmosphere unsettling, uneasy and sometimes redundant in the obsessive repetition of a frame and structure and composition is the daughter of film, the cartoon or certain video games. A circuit in bringing the narrative look at the metaphorical level of the trip, seems to draw from the 800 Sicilian landscape painting, especially them 'where, in rare cases, investigates natural elements veering sharply its palette so as to provide breaks and then falsely reassuring detecting reversing the tones in the next frame. All codes of the paintings of Samantha seem to generate an image that can adapt to the interstices of a memory undermined by a long sleep or a small shock to the brain. Image filtered by mnemonic steps that scratch the details in favor of a collective memory rebuilt, piece after piece, finally away from any desire for truth.
Guillaume Von Holden
