Pierre Portelli has been creating installations and interactive pieces for well over a decade, but has been thrown into the contemporary spotlight most especially since his emergence as member with the art-group Start.
His most recent work, Greymatter, is probably one of the largest and most space-challenging pieces which he has insofar presented in Malta. Presently found in the lower galleries of St James Cavalier Centre for Creativity, Greymatter is essentially made up of three segments: a large block or concrete compound laid on the main hall's marble flooring, and two specifically constructed upright "walls" found at either end of the concrete sculpture. Although it might not possess the free-standing or "in the round" qualities one would normally associate with the plastic arts, the concrete compound possesses strong tactile and sculptural properties.
The most curious element of this installation, and one which ties the three segments together is, however, a narrow strip of grass embedded within the concrete sculpture. The strip of "turf" is highly appealing and one might even feel compelled to run their fingers through the blades of grass, thereby reinforcing the sculptural properties of the piece.
On inspection, one will notice that the strip of grass, which is watered regularly, has generated a certain amount of life. Flies and insects, as well as patches of mould are evident, therefore establishing Mr Portelli's creation as a mini ecosystem in itself. Mr Portelli has thus managed to bring the outdoors indoors.
The holistic experience of Mr Portelli's installation is peaceful and zen-like; a sensation which is enhanced by the dim hall lighting, the lack of background music and should one be feeling particularly adventurous, also the cold sensation of concrete beneath one's feet (yes... I felt I needed to remove my shoes).
Greymatter is one of many site-specific works that Mr Portelli has produced throughout the years. In 2004, for example, he created a work for the circular atrium, also at St James, which was entitled And When I Reach Port. The work was a powerful statement on the refugee and migration issue. Yet its impact was not so much the contemporary theme as the dominance of the work within the space it was created for. In many installations Mr Portelli proves that he is capable of using or rather manipulating space in a way that best suits his needs. The concept of his work is conveyed by the "ease" of interpretation enabled by the elimination or reduction of external and surrounding interference(s).
Spaces often engulf works of art, especially when the space in question constitutes a work of art in itself. However, one can choose to either work with the space, find ways to "defeat" it, or even succumb to its fierce clutches.
The quasi Jacobean floral patterned wall-papered, yet un-concertinaed Japanese screens "seal off" either end of the concrete structure, obstructing and concealing the several metre-long slab from view when entering the main hall. Up close, this typically English floral pattern becomes a fly-infested bed of flowers, elements of which mirror the unintended "mini-ecosystem". Simultaneously these "parallel" elements distinctly set apart the fertile growing "earth" from the ornately decorated yet contaminated surfaces of flora.
I think it is fair to say that Mr Portelli enjoys including elements of "disturbance" in his work, if not creating works which entirely constitute a disturbance in themselves. By disturbance I mean that he almost relishes defeating the spectators' expectations of what a work of art should constitute, where it should be placed/found, what dimensions it should have and how one is supposed to (not?) interact with it.
While observing the sculpture, visitors seemed decidedly disinclined to mount the concrete surface and have a gentle stride upon it. As viewers, "interpreters" or appreciators of art we seem to have this pre-conceived notion that artworks should not be touched, let alone walked over. We are taught that we should admire art from a distance; but what if the item under scrutiny is cumbersome and impedes our motion?
Quite appropriately, the entire installation takes on a catwalk-like appearance and the length of the concrete structure does tend to lend itself to the actions and motions typical of fashion shows. Greymatter can also be viewed in terms of a pavement/pedestrian zone occupying a large part of the split-levelled hall of St James, spanning the distance between the two shallow staircases. The structure literally constitutes a physical and visual barrier between the two atriums, and in order to arrive to the desired destination, one must either thread over the piece or find an alternative route.
Some may be inclined to think that Greymatter is an environmental piece, however, it incorporates a wider spectrum of events and subjects. The purposely crafted crack in the pavement could represent one of many metaphors and analogies, such as a rupture in society for instance or the fatidic yin and yang. Yet Mr Portelli's main point of reference is the "hostile environment" often encountered by creativity which is capable of germinating and sprouting in the most unlikely of places. Life however, exists even on the wasteland.
Greymatter speaks of growth and process. It was borne, it flourished in a sea of adversity, and it shall also be destroyed. The finissage and deconstruction of the conceptual sculpture will be held next Monday, thereby completing the cycle and process of the artistic venture. The public will be allowed to view the process and keep a sculptural memento.
Greymatter is part of an ongoing multi-phase project entitled Amazing Race.
http://www.pierreportelli.com
His most recent work, Greymatter, is probably one of the largest and most space-challenging pieces which he has insofar presented in Malta. Presently found in the lower galleries of St James Cavalier Centre for Creativity, Greymatter is essentially made up of three segments: a large block or concrete compound laid on the main hall's marble flooring, and two specifically constructed upright "walls" found at either end of the concrete sculpture. Although it might not possess the free-standing or "in the round" qualities one would normally associate with the plastic arts, the concrete compound possesses strong tactile and sculptural properties.
The most curious element of this installation, and one which ties the three segments together is, however, a narrow strip of grass embedded within the concrete sculpture. The strip of "turf" is highly appealing and one might even feel compelled to run their fingers through the blades of grass, thereby reinforcing the sculptural properties of the piece.
On inspection, one will notice that the strip of grass, which is watered regularly, has generated a certain amount of life. Flies and insects, as well as patches of mould are evident, therefore establishing Mr Portelli's creation as a mini ecosystem in itself. Mr Portelli has thus managed to bring the outdoors indoors.
The holistic experience of Mr Portelli's installation is peaceful and zen-like; a sensation which is enhanced by the dim hall lighting, the lack of background music and should one be feeling particularly adventurous, also the cold sensation of concrete beneath one's feet (yes... I felt I needed to remove my shoes).
Greymatter is one of many site-specific works that Mr Portelli has produced throughout the years. In 2004, for example, he created a work for the circular atrium, also at St James, which was entitled And When I Reach Port. The work was a powerful statement on the refugee and migration issue. Yet its impact was not so much the contemporary theme as the dominance of the work within the space it was created for. In many installations Mr Portelli proves that he is capable of using or rather manipulating space in a way that best suits his needs. The concept of his work is conveyed by the "ease" of interpretation enabled by the elimination or reduction of external and surrounding interference(s).
Spaces often engulf works of art, especially when the space in question constitutes a work of art in itself. However, one can choose to either work with the space, find ways to "defeat" it, or even succumb to its fierce clutches.
The quasi Jacobean floral patterned wall-papered, yet un-concertinaed Japanese screens "seal off" either end of the concrete structure, obstructing and concealing the several metre-long slab from view when entering the main hall. Up close, this typically English floral pattern becomes a fly-infested bed of flowers, elements of which mirror the unintended "mini-ecosystem". Simultaneously these "parallel" elements distinctly set apart the fertile growing "earth" from the ornately decorated yet contaminated surfaces of flora.
I think it is fair to say that Mr Portelli enjoys including elements of "disturbance" in his work, if not creating works which entirely constitute a disturbance in themselves. By disturbance I mean that he almost relishes defeating the spectators' expectations of what a work of art should constitute, where it should be placed/found, what dimensions it should have and how one is supposed to (not?) interact with it.
While observing the sculpture, visitors seemed decidedly disinclined to mount the concrete surface and have a gentle stride upon it. As viewers, "interpreters" or appreciators of art we seem to have this pre-conceived notion that artworks should not be touched, let alone walked over. We are taught that we should admire art from a distance; but what if the item under scrutiny is cumbersome and impedes our motion?
Quite appropriately, the entire installation takes on a catwalk-like appearance and the length of the concrete structure does tend to lend itself to the actions and motions typical of fashion shows. Greymatter can also be viewed in terms of a pavement/pedestrian zone occupying a large part of the split-levelled hall of St James, spanning the distance between the two shallow staircases. The structure literally constitutes a physical and visual barrier between the two atriums, and in order to arrive to the desired destination, one must either thread over the piece or find an alternative route.
Some may be inclined to think that Greymatter is an environmental piece, however, it incorporates a wider spectrum of events and subjects. The purposely crafted crack in the pavement could represent one of many metaphors and analogies, such as a rupture in society for instance or the fatidic yin and yang. Yet Mr Portelli's main point of reference is the "hostile environment" often encountered by creativity which is capable of germinating and sprouting in the most unlikely of places. Life however, exists even on the wasteland.
Greymatter speaks of growth and process. It was borne, it flourished in a sea of adversity, and it shall also be destroyed. The finissage and deconstruction of the conceptual sculpture will be held next Monday, thereby completing the cycle and process of the artistic venture. The public will be allowed to view the process and keep a sculptural memento.
Greymatter is part of an ongoing multi-phase project entitled Amazing Race.
http://www.pierreportelli.com