PROJECT:
MACULA  
2017 - 2020

MACULA is an exploration of the correlation between distorted vision and distorted perception, Age-Macular Degeneration and the fictive visual perceptions of the Charles Bonnet Syndrome.
The whole research is based on an archive of 7 years of voice notes recordings of the artist’s mother, diagnosed with Age-Macular Degeneration in 2002 and experiencing fictive visual perceptions since 2012.
Through her voice diary, she describes her experience of what it means to live into a world made of increasing darkness, where she can’t tell the difference between what is real - and exists - and what is an hallucination - and doesn’t exist.
Her first-person voice notes inspired the whole project.
Her personal experience as the description of a much larger experience, shared by many.

Collection Overview








             

SERIES:
MACULA /
The Theater is in The Mind
2017-2020

MACULA is an exploration of the correlation between distorted vision and distorted perception, Age-Macular Degeneration and the fictive visual perceptions of the Charles Bonnet Syndrome.
The whole research is based on an archive of 7 years of voice notes recordings of the artist’s mother, diagnosed with Age-Macular Degeneration in 2002 and experiencing fictive visual perceptions since 2012.
Through her voice diary, she describes her experience of what it means to live into a world made of increasing darkness, where she can’t tell the difference between what is real - and exists - and what is an hallucination - and doesn’t exist.
Her first-person voice notes inspired the whole project.
Her personal experience as the description of a much larger experience, shared by many.

The Theater is in the Mind / 
Il Teatro è nella Mente, 2019
Artist’s Book
Self published
W 16 x H 23 cm
Paper, HP Indigo digital print, PVC Sleeve

Floaters, 2018
⌀ 100 x H 10 cm
Reverse etching on glass mirror, glass

Fluid Grid, 2019
W 50 x H 96 cm (without structure)
Polycarbonate photo filters, acrylic sealant, metal structure

Artifacts Mirrors, 2018
W 11 x H 16 cm
W 14 x H 19 cm
Oil based enamel on mirror, plastic frame



             

INSTALLATION:
MACULA /
The Theater is in The Mind
2017 - 2020

The Theater is in the Mind is part of MACULA developed at the AAR American Academy in Rome (IT) as part of the Tiffany & Co. Italian Fellowship in 2018.
The work took shape of a site specific exhibition in the atelier space, visualizing effects of hypo-vision, visual confusion and fictive perceptions as communicated by patients who suffer from AgeMacular Degeneration and Charles Bonnet Syndrome visual hallucinations.

The Theater is in The Mind, 2018
Installation View
Site specific installation
AAR American Academy in Rome (IT)
Tiffany & Co. / Italian Fellowship




             

SHORT FILM:
MACULA /
The Theater is in The Mind /
Il Teatro è Nella Mente
2019

In 2018 FZ received a grant from Embassy and Consulate General of the Kingdom of the Netherlands in Italy for the production of a short film about MACULA, his ongoing artistic research around distorted vision and distorted perception, inspired by the effects of Age-Macular Degeneration and the fictive visual perceptions of the Charles Bonnet Syndrome.
MACULA / The Theater is in The Mind (2019) has been shot at the AAR American Academy in Rome (IT) during his months of residency as Tiffany & Co. Italian Fellow.
The film has been presented for as World Premiere at LFF 2019 - Lago Film Fest, International Festival of Independent cinema in Treviso (IT).
MACULA / The Theater is in The Mind was nominated for the award Best Original Sountrack and Veneto Region Special Prize.

The Theater is in The Mind /
Il Teatro è nella Mente, 2019
Short Film
Lenght 10’ 09”
Support:
Embassy & Consulate General of the
Kingdom of theNetherlands in Italy (NL)
Filming & Editing: Gabriele Mariotti
Original Music: Nick Malkin







SERIES:
MACULA /
Chinese Whispers
2017 - 2020

Chinese Whispers is an ongoing series of paintings and part of the MACULA Collection, inspired by narrations of the fictive visual perceptions and voice recordings of FZ’s mother.
The collection reflects on the 'interpretation' and ‘translation’ of a person’s perceptions and mark a journey from sensation, to perception, to language, to interpretation, to translation, to visual representation.
The paintings are figurative/abstract representations of immaterial perceptions, filtered through FZ’s own visual aesthetics.
Half way between very tactile paintings and digital image making,
they use colors (sometimes dull, sometimes highly contrasted) which seem to be flat and artificial, almost digitally printed, when approached from afar.
Analysing the visual structure of the painting the viewer notice its tactile nature, the thick layers of the shapes meticulously painted one on top of each other using acrylic pigments.
There is a contrast and a dialogue between the 'digital' aesthetic of the painting (which has been conceived using image editing softwares) and the 'tactile' way it's paint has been laid down, and the 'human' nature of the volatile perception it takes inspiration from.
Colors overlay into fictive transparencies connecting with the very nature of these visual perceptions, described as vibrating and superimposed on normal sight.

Chinese Whispers, 2017-2020
Collection View
You Look So Ugly, Now You Don’t, 2020
Him & Her (Somersault), 2020
Just Like Fishes in an Aquarium (Snakes), 2017
New Gramrmar, 2017

You Look So Ugly (Now You Don’t), 2020
Quadriptych
W 107 x H 133 cm (quadriptych)
W 53,5 x H 66,5 cm (each)
Acrylic paint on MDF board, clear varnish

Him & Her (Somersault), 2020
W 122 x 100 cm
Acrylic paint on marine wood, clear varnish

Just Like Fishes in an Aquarium (Snakes), 2017
W 122 x 100 cm
Acrylic paint on marine wood, clear varnish






INSTALLATION: MACULA /
∆x Displacement
2019 


Δx Displacement is the title of the exhibition taking place in 2019 at the American Academy in Rome, curated by Ilaria Gianni.
Bringing together works by visual artists, architects, designers, writers, archeologists, art historians and conservators, in a range of media and scales that respond to the various meanings of the term displacement, Δx focuses on conditions questioning the poetics of the ordinary, unsettling a sense of belonging, and disrupting conventional relationships.

∆x Displacement, Cinquemostre 2019
Exhibition view
AAR American Academy in Rome (IT)
curated by: Ilaria Gianni
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Phantom Grid, 2019
Floaters, 2018
Tactile Grid, 2018


  FRANCESCO ZORZI (Italy) Francesco Zorzi is a multidisciplinary artist based in Amsterdam working with a wide variety of mediums, informed by his background in design, his love for the world of Color and his fascinations into the mechanics of vision, perception and interpretation of reality. His works are united by the quest for the qualities of what makes us ‘human’, reflecting on how we interact with what’s in front of our eyes, how we make sense of it and how we explore the inner-worlds we create with it. His explorations - whether dissecting Colors or Shapes - can be seen as an ongoing study on the structure of their inner components and the interaction between each other. These abstract configurations are like fragments of a kaleidoscope in perpetual movement without a beginning or an end, offering the viewers a moment of reflection, new playgrounds for exploration and wonder. His visually ambiguous wax-crayons works, are an investigation on Color in itself: its visual perception as well as the duality of Color as both lightwave and matter. Each artwork is the result of a complex layering of various wax-crayons sticks of different tones, applied next to and on top of each other, creating an ever evolving, ever pulsating flux of constant dynamic movement. The appearance of their colors and the structure of their wax influence directly the ways they interact and ‘talk’ with each other, mutually attracting or repelling one another. They can create harmony or tension. Sometimes they blend and dance together at different speed, in an homogenous flow or in multiple streams and directions. Sometimes they clash and come into conflict with one another. These brightly-hued abstract artworks are as much about color as they are of about emotions altogether: on one side they explore the phenomenological impact color has on human perception (seen from the point of view of the viewer being in front of the artworks); on the other they interact with the ineffable emotions and sensations guiding the process of mixing the crayons (seen from the point of view of the artist producing the artworks). The colors of each artwork are immersive, physical and tactile, just like the process of its creation: Ethereal and vibrating but also palpable and present at once.