Friends of Gaya
Gaya Ceramic

11 Totems Mustica
Nino Mustica
Aug 15th-Sept 15th, 2007
A Solo Exhibition by Nino Mustica

11 Totems:
?We must arrive at a dynamic conception of forms, we must face the fact that all human forms are in a constant state of transformation,? Asger Jorn wrote in 1954. ?Architecture is always the ultimate achievement of intellectual and artistic evolution. It is the final point in the achievement of any artistic endeavour because the creation of architecture implies the construction of an environment and the establishment of a way of life.?
Few artists have devoted as much energy as Nino Mustica to this sort of research into the evolving power of transformations. Though his roots are solidly within painting ? and, if you had to choose one aspect, within the emotive impact of colour ? Mustica?s natural sensibility is one of constant change, constant growth, constant evolution. He is a painter, but without the limitations of canvas or delineations between sign, gesture, colour, material ? or volume.
In 1994 Mustica began his research into three-dimensional pictorial forms, paintings with the memory of sculpture, paintings which travel through the space normally occupied by sculpture but nevertheless maintain their pictorial essence ? for Mustica, colour is emotion, emotion is colour, colour is volume, and emotion-driven volume is transmuted into grand flexuous shapes of colours suddenly freed to display their entire range of possibility.
The mechanism for this freedom was technology: plexiglass, resin, digital patterning. In Mustica?s words, ?Technology can realize only that which is possible. Not more, not less. It is born in the space between reality and thought.? He embraces technology because it empowers the artist, pulling together the core human emotions manifest in basic colour relations with cutting-edge advances in man?s engineering and mechanical prowess. For Mustica, these are not antithetical poles ? they are simply possibilities, relationships, perhaps evidence of the interconnectedness of everything.
He sees a bee as an expert engineer and a spider as a master of mechanics. The rest is evolution.
Two years ago, technology led Mustica into partnership with Stefano Grandi, Europe?s leading manufacturer of advanced linear motors. Together they designed, invented and patented new technology for roto-translating modular totems ? adding the element of time to create a fourth dimension of painting ? in infinite, unlimited combinations of colours, forms and solids.
From modular totems, it was a small step to Jorn?s ?ultimate achievement of intellectual and artistic evolution? ? architecture ? but architecture that takes a further step, beyond Jorn, by working fluidly in four dimensions. In mechanics, translation is defined as the ?motion of a body in which every point of the body moves parallel to and the same distance as every other point of the body.? It is uniform movement without rotation. Now imagine a skyscraper where each floor shifts continuously, translates, North to South, East to West, while at the same time rotating so that from your living room you can see both sunrise and sunset. That?s roto-translation, Mustica?s radically new living architecture, where the skyline shifts continuously ? different skyline, different perspective, different way of looking, different lifestyle, new possibilities. Who lives in boxes, thinks in boxes. Who lives in fluidity, opens himself to new ways of life.

Tari Rejang
acrylic and enamel on canvas
200 x 200 cm
 01    02    03    04    05    06    07    08