In modern times, some of the most famous artists, in search of new strategies to attract the attention of the user, inserted within their works, one or more characters, which we often associate with their self-portraits, whose gaze was directed towards the public, outside the space of the work itself, in search of a bond that engages with the viewer a game of references aimed at establishing a reciprocal bond.
Roberto Giacomucci, long-time designer and creative, in Dynamic Forces openly declares the same principle: by embodying himself in the black arrow which is the main subject and actor of the works, he pushes the material to a variation triggered, precisely, by a force physical type. The viewer can actively understand the process in progress by reconstructing the entire sequence of the action while perceiving the instantaneity of doing so, thanks to the exemplification embodied by the arrow that shows us the direction of the force that acts on the materials / forms the moment represented. The arrow, who is the artist, embodies the speed of intuition in knowing the world with punctuality, the clear path towards an established goal which is its natural fulfillment; there are no elements of ambiguity in it, only unification, decision and synthesis.
From the design programs and 3D renderings that accompany a designer’s everyday life, these plastic sculptures are projected into our analog universe making a journey opposite to the one that translates our world into binary numbers and pixels. Their playful character and bright colors, chosen from a palette of saturated and bright primary shades, present them to us as apparent elements in the cyberspace of video games and virtual realities whose ideality is however upset by one of the most real impetus ever encoded: the physical forces identified by the directional arrows.
Taking advantage of the typical graphics of comics, Giacomucci knows how to harness time by freezing the precise moment in which the material undergoes a variation, condensing, in these essential creations with minimalist features, years of design development and study of materials and their characteristics but without falling into the didactic . What Graduation proposes to us is the central scene of a storyboard: the beneficial effects of force have just been triggered, so in this series of works there remains a further tension: the action is at its debut, we grasp the key moment but we can , each following their own inclinations and perspectives, imagine the impression and the end.
We could say, in closing, that Dynamic Forces freezes potential actions, studies and analyzes them at their peak and explains the mechanism underlying them; but it is also an ironic and amusing sample of unstable situations, in movement and which tends to confuse and alter the material as only those who know so deeply can have fun playing with its textures and exploiting its specific properties and characteristics.