Elena Palacios Carral
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THE ARTIST IN HIS STUDIO
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Translation might have the power of identity forming through the constant process of transformation embedded within.Not just the identity of the translation as a ‘new’ object acquires an identity of its own but it constantly redefines the one of the ‘original’. The artist studio is then the space in between the two, from which one could question not only the space and form of both the ‘original’ and its translation but the space and form of the process of translation itself?
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The artist studio is this space of transition, it is neither the translation nor the original but the translator itself. It contains not only the final object but the tools the author uses to appropriate-and then transform-his or her own understanding of the ‘original’. The studio then operates as a site of negotiation. It is constantly redefining through a process of exclusion and inclusion, the identity of the studio as a space but also its ability to mediate between the various identities of the artist, the ‘original’ and of its own transformation.
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Giorgio Morandi appropriated a series of objects, vases and jars that he ‘stored’ in his studio.With them he studied the basic structure of the world through the relationship between objects and light. His paintings are the result of his thinking process but the studio reveals the thinking behind the work. Morandi would arrange these objects on top of a table in which he would place a piece of paper. Here he registered with lines a few of the infinite possible interpretations that can emerge from the relationship between the objects themselves.
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Within the studio then, the artist develops a language of its own. Through specific materiality, colour tone or the arrangement of the space itself, the artist articulates an idea of reality and thus invents the new real. The artist studio becomes a self-portrait of the artist and a portrait of the world beyond.
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