Frame Store
Frame: a freeze-frame, a frozen moment, the continuance of an unrepeatable instant, an atom of everywhere in time and space. And to embody, or rather, disembody this everywhere, there is nothing today that lends itself better than the Internet. In his explorations by means of the intricacies of Second Life, Gianluca Capozzi intercepts fragments of stories and recombines them in a puzzle of visual splinters: in this way he shreds the moment and converts it into an image that explodes and proliferates from within, revealing completely new sensual horizons. The monotony of pixels is replaced by the unpredictability of brushstrokes that dissociate the order of the discourse and leave our expectations about meaning in disarray. Frame is, literally, the frame, whose form imprisons the breath of the moment in the frozen image. Painting appropriates these images, annexes them to another realm, unfreezes them, distorts them, and expands the moment. Frame Store: what is it more than just a repository of frames, the skeletons of a support, a materiality that underlies and pre-exists the painting itself? But isn’t it precisely through the act of painting that it’s possible to infiltrate the semantic fault that separates the literalness of the noun frame from its metaphorical meaning? The iteration of an image enclosed within the confines of a frame, the display is at the same time a spatialized deployment of exploded moments. Painting breaks the frame of the ‘moment’. Second Life: fictitious and superimposed life, a parallel hypothesis. Gianluca Capozzi seems to want to partake of this ‘Second Life’ through the second glance that opens onto the invisible; he filters it through his own life, through the painting experience. Thus the perimeter of the picture becomes the scene of a complex drama in which the content of the pictorial representation collides with the time involved in painting: a sliding freeze-frame, the chronicle of a process, a practice, a discipline, a challenge. The individual paintings are spatialized by series, as if implementing a multiplication of screens, each of which aspires to be not a slice of ‘second life’, but a life ‘by the second’; in fact, life multiplied by itself. According to Capozzi, this is exactly what art is: "the need to shatter, to violate the visual, to the extent of burning and trampling the image; to paint a musicality of images tortured by a frenzied swirl of scattered colours. What matters to me in art is not the final artwork but the artist working in a relationship where the work is only residual fallout, something that detaches itself and falls from the living organism. Art is life in it’s unrepeatability of the event, it’s ‘one time only’ quality.”

Alberto Mugnaini