L'Escondut
“Il loro tronco, ampio e curvo, è un invito a tracciare segni (…)”
(Breve storia degli alberi da lettura, Giuseppe Barbera)
The “Escondut” is a return work of the “Beica ben” residence, located in the Grana valley in the Cuneo district, it consists of an installation placed between the Occitan folklore and the enviroment, a widespread work that becomes a journey and invites to take the walking path that joins the red spinning wheel and the apple orchard , small gaps and different terrains, it’s quite possible to spot the Escondut (the hidden), an Occitan folklore new creation.
The Escondut is shapless, but somehow it appears , hidden between the branches. You can see it checking the trees with great care, searching for big or small eyes painted over a hundred logs that shows on the surface of the bark that typicall eye shake growth, during a walk of vigilant liabilities, slowing down the pace to turn your gaze higher up compared to the slowness of the feet:(…)that’s how you see it: if you are open to the novelties,if you choose to keep going even if you are uncertain about where the road leads, if yuo accept that you can fall, if you think that even if something is a little bit hidden is still worth it. That’s when you discover it, see it, l’Escondit,and it sees you,” the story tells. Admitting that life moves the same way, as a precarious search that moves forward into the unkown, that gives relevance to what is not immediately clear, to things that have no pratical benefit, things that happens almost like a stealthy accident.
The widespread work L'Escondut is a declaration of belonging to a horizon that gives value to the unseen, to what seems uncontrollable, whose nature is to awaken the desire for a more iridescent existence, attentive to the contingent, in perpetual redefinition.
Site-specific installation (Caraglio, CN)
Red spinning wheel
Non-toxic tree painting
Narration by Caterina Ramonda
2023
ph. Mattia Gaido
Selected projects
Silvia Margaria spent three years at the film archive of Cineteca at the National Cinema Museum in Turin, working in the field of inspection and cataloguing films.
This work experience was fundamental in forming her current artistic research: the careful way of approaching the memories and the storytelling identity from the past, and the effort of bringing you to look beyond your own ordinary bustle, they have the intermittence of the case allusions and fragments, the precariousness and fragility. Her working methodology gives importance to dialogue and participation with other visual traces taking into account the relationship between opposites understood as tensions comprising the experience of relationship with the memory of the complexity of the relationship between man and the environment.
Her research is based on a rhythm that makes slowness a method of action, to ensure that attention can be manifested in an open, measured and responsible way.
“Friction, between a nature that reveals itself and at the same time retreats into its most essential part, is the very secret of nature, namely the invisible reason of which the world is its external manifestation. Silvia Margaria’s poetic vision straddles this very point: the artist seeks the imperceptible part of nature and explores its process of appearing with an observational work based on the desire to understand the mystery of life as it runs its course. Her work, in line with what it explores, is configured in the ambiguity of opposites (scattering/concentration – hiding/revealing – searching/finding – one/many – solitude/collectivity – communication/relationship – remembrance/oblivion – resistance/change) in relation to each other rather than in their divergent reciprocation, through the processing of the transitive quality of concepts, so that the consequential motion that characterises the natural flux of things can be drawn from their dialogic link.”