Sculpting Silence: Luca’s “Reflections” on Ecology and Self
In this article, we acquaint ourselves with Luca, an Italian artist whose work, though at times overshadowed by the deluge of digital content and the competitive spectacle of social media, manages to catalyze significant contemplations on societal constructs through his digital 3D installations crafted with a gentle yet profound touch.
Luca is an introspective designer who transitioned from the precision of industrial design, studying it at Politecnico di Torino (2019-2021), to the expansive vista of the artist’s studio.
I engaged in a thorough conversation with him regarding his collection, “Reflections.”
“Reflections” is imbued with the rigors of design’s first principles and a profound consciousness of our symbiosis with the greater ecology. Here, the works are less exhibition, more contemplation – a silent soliloquy on Luca’s personal evolution, the narrative of his design ethos, and the visceral panorama that has informed his artistic expression.
The collection itself engages in a tacit discourse: the creations of our own hands in conversation with the perennial truths of nature manifested in a digital environment, a mirror to Luca’s introspection and a critical eye on the expectations woven by the fabric of society. His art is not merely observed; it is an experiential space, a crucible where the material and the virtual interrogate the essence of sustainability in our contemporary craft. Luca’s oeuvre extends an invitation, a summons to the viewer to engage in a personal dialogue at the confluence of existence, creativity, and our indelible digital echo.
In observing Luca’s collection “Reflections,” one is immediately struck by the juxtaposition of the industrial and the organic, the manufactured and the naturally occurring, the physical and the digital. His artworks are not confined to physical dimensions; indeed, through their digital nature, they transcend literal space. Instead, they provoke a silent dialogue with the context they are perceived in and, by extension, engage the viewer in introspection. The viewer is invited to consider the function and the form, the utility and the aesthetics, the emotional resonance of each piece.
Each work in “Reflections” is a pause, a moment that captures Luca’s inner contemplations. They are manifestations of a designer’s struggle, a testament to the weight of creation, the burden of innovation, and the introspection it demands. His time at the Politecnico di Torino is not simply a chronology of education but a journey through the essence of design itself, an exploration of its core values and its impact on both creator and consumer.
The collection invites us to reflect on the pressures of artistic creation, the often invisible yet palpable tension between expectation and expression. Luca’s use of digitally crafted everyday materials is not random; it is deliberate, a choice that speaks to the heart of sustainability – not as a trend but as a necessity, a principle, a philosophy that underpins our very existence.
“Reflections” creates a space where one can confront their own perceptions of success and failure, the dichotomy of living in a digital age while yearning for tangible connections.
The conversation to follow will unravel the threads Luca weaves between his experiences, his art, and the world it inhabits – a world where seeing is only the beginning of understanding.
Can you tell me more about your journey as an industrial designer and artist and how it influenced you to create “Reflections”?
I studied from 2019 to 2021 Industrial and Graphic Design at the Polytechnic University of Turin, a school with a strong focus on fundamentals and principles. During this time I developed an interest in sustainability and defense of the environmental ecosystem. In design, however, I have always found it difficult to pursue my ideas. In art I have found my space, and ‘Reflections’ carries this part of me that has not matured in design.
The use of everyday objects and natural elements in this collection suggests a dialogue between the artificial and the natural. Can you expand on the significance of this dialogue in your collection?
These pairings describe a part of me. ‘Pressure’ for example includes several meanings. One of them is the representation of the feeling of failure after great success. A long writer-block period where each new work will never be as good as the successful one. The other representation is more logical and plays on the juxtaposition of the materials I use, the stones are the ones I used to build the walls outside my house and the computer is the tool I work with.
How does tension between the natural world and human society inform the pieces in “Reflections”?
The works are influenced by a time of great hatred toward human society. I think we have forgotten that we are part of an ecosystem and that we are just animals. An unpublished work is the ‘reverse air conditioner’ it is simply an air conditioner mounted upside down. The idea was to warm humans and cool the world. However, I tried to turn this anger into something else, because other people don’t like it.
How does your understanding and value of sustainability play into the creation of your pieces?
Sustainability is a good thing, but it is only the actions that need to be implemented to respect others and those around us. Instead, understanding the ecosystem around me has led me to better understand myself, accept my limitations, and find inspiration.
How would you define the boundary between physical and digital art, and how does your collection “Reflections” challenge this boundary?
I like to think of this series of works as just a list of concepts. Each piece of artwork can very well be reconstructed by any person in any place with any technique. A timeless and spaceless thing.
What is the significance of preserving or representing physicality in a digital space? How do you capture the essence of a physical object in your digital reconstructions?
Capturing reality is a method to engage the viewer more, like directing a film or an actor’s performance could be. Capturing the essence of objects was not difficult, I used things that had already been done, and I did not have to reinvent anything.
Could you discuss the process you undergo in creating each piece, from concept to execution? How do you choose the materials and objects for each piece?
I took several inspirations from the world of conceptual art, many other artists before me tackled these themes and they were certainly inspirational. I could say that the concept work takes up 90% of the process; the rest was composing the images. Each object has different meanings that tell about me as a person or about concepts to which I am attached.
Could you share your thoughts on how the digital world influences our understanding and perception of reality, and how these thoughts are manifested in your collection?
I think the digital age we live in is very primitive on a technical level. Just think that social networks are 2D notice boards that you can flick through, there is not much difference from newspapers. I think augmented reality will be much more fun. I could also make this collection in formats but actually, my biggest wish is to see it realised in an exhibition.
Is there a particular piece in the “Reflections” collection that stands out for you or holds a unique story? Could you share that story with us?
‘Emergency’, because it needs no description.
How do you expect the audience to engage with your work? What reactions or reflections are you hoping to evoke? How do you think the interplay between the digital and physical realms in your art influences the audience’s understanding or interpretation of your pieces?
I hope everyone interprets it in their own way but I will have sympathy for those who have the same ideas as me. I would not like there to be different types of interpretations regarding different media, the important thing is the concept.