METHOD IN FORM
A Compendium of Research at Sperlinga
To imagine a place is already to begin reading it.
It is as if an unspoken yet active map existed between the anticipatory image and the actual location. Imagination seems to precede recognition, as though the place harbored a still-unknown image that it reveals through its forms.
Everything stems from an image of Sperlinga Castle and the stories held within its rock. The anticipation of arriving there for an artist residency fueled visions and forms; these found a surprising counterpart during the experience itself, rebalancing the boundless, borderless expanse of an unfamiliar place. Defining boundaries thus becomes a necessary act for engaging with the site. It means balancing terrestrial, spatial, and abyssal coordinates along a precise axis to make the world traversable, while simultaneously crystallizing perceptions into revelatory intuitions—rather than applying a method to produce forms. It is the forms that reveal the method: a form may emerge from the material of the place yet simultaneously originate from a dimension that transcends it.
Introduced for Contemporary Art Day, this *Breviario* (Compendium)—a collection of drawings, sketches, photographs, and works from the time spent in Sperlinga and the Etna region—serves as an artwork in its own right. It acts as a generative matrix of conceptual art wherein the idea, the method, or the instructions for use constitute the work itself, even if the final physical object has not yet come into being.
In these fragments specifically, the landscape is no longer merely something one looks at (the forms)—such as the *Ogiva* (ogive), the complete shape of the “iron cores” embedded in the rock; it becomes the *Oculus*—the open form within the stone—that through which one is looked at. Both are devices for gazing—positioned inside and outside space, acting as points like the *Oculos* from which even Cassiopeia can be intercepted; they serve as the conduit through which “celestial milk” pours onto the observer.
The *Breviario* can be viewed on the personal digital space ZART (https://www.instagram.com/zart1.9/) on October 10th.METHOD IN FORM
A Compendium of Research at Sperlinga
To imagine a place is already to begin reading it.
It is as if an unspoken yet active map existed between the anticipatory image and the actual location. Imagination seems to precede recognition, as though the place held a hidden image within itself, revealing it through forms.
Everything stems from an image of Sperlinga Castle and the stories held within its rock. The anticipation of arriving there for an artist residency fueled visions and forms that found a surprising counterpart during the experience, bringing balance to the vast, boundless space of an unfamiliar place. Defining boundaries thus becomes a necessary act for engaging with the site. It means balancing terrestrial, spatial, and abyssal coordinates along a precise axis to make the world traversable, while
