Artist

Umberto Ciceri was born in Milano in 1961, but he lives and works in Bologna.

By the end of the 80’s he focused his studies on themes such as Neurophysiology, Quantistics and Perpetual motion that in his last experiments are translated by the “lenticular technique”.

According to Umberto Ciceri the truth in photographic representation is only partial, mediated, and fictitious and does not reveal men’s true inner dimension, reality his recorded. The technological language that the artist uses is the lenticular, minus its playful use for fun images that come alive in a mechanical way, in order to become the right medium for transmitting before the work, which defines his narration. The lenticular, once again in artist’s words, “provokes and triggers intense creative participation” where the observer is really the driving force of the work.” The communicative effectiveness of the lenticular is by no means a novelty in the Italian art world, so much so that it has been used as a medium by countless artists to create innovative and highly effective works of art. There’s an American school of “Lenticular Art” in New York, which includes artists like Robert Munn, Sara Cook & M Henry Jones.

This simultaneous action stirred up by the spectator, this diagram of space-time-vision which moves according to the co-ordinates of the individual diachrony of the onlooker subject is condensed into the formulas hypertrait “Hypertext” and “Portrait” grafted together as an experience that can be browsed and scrolled through in its many directions.
The spectator becames the origin of a perpetual motion that spreads across the design of nature, by blurring (space) and diachronicity (time) interconnected with a still shot of the view. As in hypertextual communication it is the user who decides at each step how to continue viewing the presented material, and so in the Hypertrait the sequence of viewing is personal and not dictated by the sender.

The main feature of the hypertext and Hypertrait is therefore the non-linearity of interpretation and viewing, where the only centre consists of the position of the person viewing the work inside it.
The very fact that the images are presented out-of-focus shows that the artist’ s synthesis is indefinite and anti-descriptive, in order to actually allow the observer to re-condense and re-focus on the vision that reaches his own nervous system.

Exhibitions:

2009 :
States of Grace, a cura di Chiara Canali, Franco Senesi Fine Art Gallery, Capri

The Magic Baton, Artefiera Off, personale, galleria Cavour, Bologna

2008:
Art Verona, Galleria L’Ariete artecontemporanea

RE-VOLT, corpo elettrico, Fotografia Europea

Reggio Emilia, ex centrale Enel, Reggio Emilia

Order Without Border, spazio 2bo, Bologna

2007:
Art in Progress, intervista durante il programma, rete Leonardo Sky