Nuuco is growing and with him his photography. His choice, his initial crisis (crisis always intended positively as a decisive phase before a change) has come and gone, and once again the fil rouge that guides his projects is the extreme freedom with which the artist plays with the photographic medium.
Having already affirmed his interior freedom through his so-called cold period (images of danger that presuppose the changes of the status quo in the search for a new interior equilibrium, a necessary condition for self-improvement), now is the artistic liberty of photography that comes to be placed in discussion and at the same time reaffirmed, by playing with the roles and social relations, with the status of the artists and with multiple meanings that this title has assumed in the course of the last century, most of all from Duchamp and later.
Marcel with his celebrated “Fountain” already 100 years ago reminded us that, in fact, art was that whatever the artist so defined, even a urinal, if the artist chose one, gave it a title and displayed it according to a new point of view. In his initial project, that has then given life to the images of his “warm period”. Nuuco wanted to make his own not objects, but images of others scribbling them with a child-like joy and thus making them his own, but unlike Duchmap, he decides to follow an inverse path: Nuuco takes a step backward with respect to the omnipotent Marcel and instead of being taken by the world, he decides to offer himself to the world, as a man and as an artist, asking the world itself to have a conversation with him about the significance of art.
Nuuco offers his image (mailed to friends, acquaintances , some known to him and some unknown) asking everyone to do with them as they like, turning himself into a guinea pig in an artistic experiment in which the final product is not what he is actually interested in, but the creative process that generates it. After a month, the corrupted image, played with, manipulated by the world, must be returned to the sending-artist that, charged by the pain and complacency of waiting, will feel the necessity to retake possession of it, scanning it and bringing it back to the status of art photography .
For this reason the artist puts into play his own identity and by making others make a comparison with his own images (and consequently with the images of the contemporary artist in general) he himself turns into a ready-made, giving the possibility to anyone to exit from the role of spectator passively experiencing arts, and to turn themselves into active actors to all effects, participating in the creative process that is at the core of the completed work of art, and permitting in this way also the understanding of the idea and of the projects that give birth to a work of contemporary art, often accused of being distant from the spectator, notoriously the final ring of the “food chain” of the art system.
Photography transcends its own boundaries, moving itself into the geographical and vital places of those who receives it, and imbues itself of the waiting time of the artist. In this process photography itself undergoes symbolic metamorphoses transforming itself from digital matter to physical matter rendered malleable by the external contribution of the spectator-actor, then returns to the digital form trough the scanning of the artist who sent it, and finally it becomes once again physical through the printing and the showcasing which, together with the artist, has produced it. An artistic and life-like journey that takes energy from the life of others while allowing the self-affirmation of the artist who remains the main component of the artistic process that involves the personal biography of every subject involved, intertwining effectiveness, emotions and creativity in a work that can be defines as social.
Nuuco affirms himself and his image as an artist by looking at the external worlds, giving himself as a meal to the world, only to subsequently conquer it. A step forward towards freedom.