chaos
vision
will
Scartime
WHY “SCARTIME”?
Chaos, Vision and Will are indeed the essential same components of life.

The word game describes at first glance, the scars of the time on Sandpapers.
But in Italian “scarto” means “scrap”, “waste”, a piece that is a residue of a craftwork. This describes the Sandpapers: used in industrial processes to levigate the wood. I realised that Time had made his magic with his marks and I start enhancing his effects with some touches. So I took agreement with a couple of industries to buy these scraps, each one of them noted with the duration they have been used and the wood they have been used onto.
The twelve pieces of the Scartime collection are 2.50x1.25 m (8.2x4.9 ft) each. Aside the collection of twelve pieces, other smaller (1x1m, 3.2x3.2 ft) have been selected and touched, always in the lightest form.
Under the technical point of view the artwork is “Wood and time on sandpaper”.
There are in the technique indeed three variables:
_ The Grit of the sandpaper
_ The Time of the action, in minutes
_ The wood or pattern of woods levigated
Grit and wood are the ones that leaves the Scars during the Time; ScarTime.

OPUS T004
inches 86.6×43.3 / cm 220×110
OPUS T004
inches 86.6×43.3 / cm 220×110
OPUS T038
Triptych / inches 47.2×27.5 / cm 120×70
OPUS T023
inches 98.4×53 / cm 250×135
OPUS T044
inches 98.4×53 / cm 250×135
OPUS T034
Diptych / inches 70.8×41 / cm 180×104
CHAOS
the random casting of time, occurrence and matter
OPUS T032
Diptych / inches 39.3×39.3 / cm 100×100
OPUS T033
Diptych / inches 39.3×39.3 / cm 100×100
OPUS T006
inches 86.6×43.3 / cm 220×110
OPUS T002
inches 43.3×86.6 / cm 110×220
OPUS T003
inches 43.3×86.6 / cm 110×220
OPUS T001
inches 43.3×86.6 / cm 110×220
OPUS T028
inches 98.4×53 / cm 250×135
OPUS T026
inches 98.4×53 / cm 250×135
OPUS T035
Triptych / inches 63×28 / cm 160×71
OPUS T045
inches 98.4×53 / cm 250×135
OPUS T043
Diptych / inches 38.5×20.8 / cm 98×53
OPUS T020
inches 98.4×53 / cm 250×135
OPUS T027
inches 98.4×53 / cm 250×135
VISION
the ability to recognise the hidden beauty in the events
OPUS T019
inches 98.4×53 / 250×135 cm
OPUS T022 - OPUS T017
inches 98.4×53 / cm 250×135 - inches 98.4×53 / cm 250×135
OPUS T008
inches 98.4×53 / cm 250×135
OPUS T010
inches 98.4×53 / cm 250×135
OPUS T025
inches 98.4×53 / cm 250×135
OPUS T007
inches 98.4×53 / cm 250×135
OPUS T011
inches 98.4×53 / cm 250×135
OPUS T016
inches 98.4×53 / cm 250×135
OPUS T030
inches 62.2×67.7 / cm 158×172
OPUS T042
inches 23.6×67.7 / cm 60×172
OPUS T037
Triptych / inches 124×67.7 / cm 315×172
OPUS T036
Diptych / inches 94.5×67.7 / cm 240×172
OPUS T041
inches 23.6×67.7 / cm 60×172
OPUS T031
inches 62.2×67.7 / cm 158×172
OPUS T009
inches 98.4×53 / cm 250×135
OPUS T012
inches 159.5×98.4 / cm 405×250
THE MANIFESTO
Introduction to the Emanuel Gargano’s poetry and concept

Unfocussed, in the focus, Torment turns around me in an ellipsis.
Cause the artist is the cheater at the table of the Fate:
“Twelve, black: born, grow up, die, restart”
I crystallize the hypnosis of the eclipse: “Fiat Lux” it’s the snatch and a wake that is not in me. I work for the Darkness and in the Darkness.
Cause the night is in everything and I reckon when it says to the emotion “Disfigure yourself”
It’s the violence of the nocturnal cardio
The destruction of the intent, mine.
The allegiance between the Omen and the Never
There is the need of a getaway from the sea and the linens: Faust is not waiting Here, Life and Death, opposing music with same deceptive cadence:
Every single day, subtraction
Every single day, division
No one, at the end, intact

The armoured Silence with bolts of Time, fights the lightnings of the humans’ laws.
The anthem of the End waits pointlessly his shift with the patience of the woodworm.
Disinherited, the Shape leaves her trail during the horizontal escape: that’s my horizon.
At the end of the advent, the rip is fulfilled: the pupil reborn in a new letting, a kidnapping with no ransom.
With no momentum nor memento I recognise the lights and the nights:
they’re all already written.

A single “Amen” won’t suffice.

Italian artist and designer Emanuel Gargano is born in Assisi, Umbria.
This area profoundly shaped his creative and emotional sensibilities, and he continues to live and work there in spite that several experiences bring him to different parts of the globe. After graduating from the ISIA (Superior Institute of Arts and Industry) of Urbino, he moved to London and collaborated with architects and artists, where he successfully grasped the calling to blend the concepts of "void" and "nothingness" regarding space, colours and time.
This is his own expression and perspective towards art.

Currently his professional life is carried out between London and his laboratory in Assisi, where he studies and develops his art approach and material research. It would be impossible to confine his multifaceted activities to a single professional eld, as his work ranges from architecture to design, the study of light and arts. His works reveal a deep fascination with either natural and synthetic materials, and he forges any kind of physical matter in search of its innermost soul, a process that is likely parallel to what life itself continues to do with him day by day.

emanuel gargano