HIDDEN LEAVES IN MY MIND
Artist: Laura Gianetti
HIDDEN LEAVES OF MY MIND consist of a new in progress drawing-project that will be put in dialogue with a selection of Gianetti´s latest works, outlining some of the topics Laura approached since she moved to Berlin. The artist’s studio is not necessarily the main place for the production of an artwork anymore. Artists are working more and more into the public space, but sometimes a work can unexpectedly come to the light between the long waits and the void gaps of a second job. This latter can provide for financial safety, allowing the development of an art career, but it can be frustrating, taking out time and energies. Laura’s experience with this kind of double life, between the willing to follow her own research – mainly through photography and painting – and an aseptic call center, has given birth to a drawing series. Everything that was available were just a pen and a sheet of paper, but thanks to the huge amount of time spent while waiting for a call they turned into the best instruments to draw sequences of accurate and surreal visions, distorted bodies, growing plants and an haunting invasion of leaves. It’s well known that the leaf is the most important organ in plants life: it allows photo syntesis, respiration, transpiration, guttation. A fully artificial place such as a call center lacks of any natural light or fresh air, so being unsuitable for leaves as well as for living beings. On the other hand, the leaves come back to the paper both as a sign of the willing to escape and as a relieving iterative gesture: expression of a mood and cathartic ritual. “This Was Supposed To Be the Future” is a painting series on jute portraying six animals – a sheep, a monkey, a cavy, a rooster, a living pig and a dead one – which was carried and positioned in different areas inside a snowy park – the Volkspark Hasenheide - during a performance in 2010. We can picture Laura shifting in few hours from one of the highest expressions of artificial life to a natural open space where she placed her "animals", as if it was the only spot in which they should actually live.In spite of the large gap in size – from an A4 format to a large canvas – the amount of working hours on one drawing and on a painting is almost identical. The only differences are the location of work and the state of mind. Establishing a photographic comparison between negative and positive, the monochrome drawings from the "darkroom" of a call center hide energetic paintings and reinvigorating walks. Presenting together two opposite poles of her experience is a way for Laura to close the circle, but it also witnesses to the fact that a chance to create is often hidden in unpredictable places and states that are recognized cliché of creative castration.