Conceiving Images of Alternative Worlds

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Conceiving Images of Alternative Worlds

Klinker Lab


How and to what extent does the decontextualisation of fragments on a new landscape create a new image?

Our collages are meant to explore. Grafting architectures out of range and immerging them in a different context from the original one give us the possibility to create a new story in order to find out how they would behave in natural environments or in urban landscapes. In such a way the function of th buildings is misrepresented while they maintain their shape.

To what extent will the history of the fragment dictate the way the viewer understands the image?

Sometimes in our collages we reach an extreme point from which we are not familiar with the architectural fragments and we can’t make a distinction between what has been added and what underwent the addition.
If we have acquaintance with what we see, we can be agreeably impressed and we can have a clear vision on what the contrast is trying to communicate.

Our work has three main targets:
-To reach a greater confidence with the subjects we are studying (the more you know it, the easier it is to find bonds with oter images).
-To train constantly our ability to link elements or images which are apparently connectionless.
-To be able to unveil a characteristic of an architectural object and bring it to its extreme limit. We try to enlarge its monumentality or its sacral feature.

What are the implications and purpose of collaging the displacement of architecture or fragments? 

We conceive images of alternative worlds. The choice of fragments is set on shapes and spaces which enhace each other’s characteristics and swith attributes. The composition allows us to expand the visual effect. The scale and the order of appearance permit us to come at a different language from the real one.

How much thought process is behind first the selection and then composition of an image? Do you start from fragments or do you sketch an idea? 

During a workshop, Piero Frassinelli from Superstudio told us: “A good collage starts with a wonderful image.”
Mostly we start from an image that capture us with its characteristics or its composition, sometimes we create a story, sometimes the story comes itself at the end of the collage.


What is your work process in terms of digital vs manual?

We only use digital support for our works. We think it is anachronistic to use analog means, but we are facinated from their simple aesthetics  and we appreciate the results we can obtain with non-digital techniques.



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