Tear-trace
The verb Tear-trace is commonly used to express sincere sadness or sarcasm about a minor problem, and is accompanied by the finger gesture that traces the path that a tear would make along one’s cheek. But the word Tear, in addition to meaning in Italian lacrima, also has value for strain, cut, gash.
The fragments of the photographs found show not only the tear, but the act and the will of a separation; they are shreds of memories that wanted to be forgotten. These incomplete images leave a hidden trace resting on the photosensitive paper sheet like a white shadow that has never taken light. It would soon vanish if the photograph was gone.
frammenti di stampe fotografiche trovate b/n e colore, carta fotografica fotosensibile lucida
24 x 30,5 cm.
2018 – in progress
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.”