In Letasca's FW18 campaign, the essence of juxtapositioning a 'real' in an 'ideal' environment made of structural form and light, strongly plays on 'non-objectivism'. Non-objectivism refers to abstraction, devoid of any reference to the real world. The set design and mood for the campaign is inspired by the works of famed light artist, Paolo Scirpa. His visually phonetic work has a metaphysical approach that is emphasized by his quest to combine light and art.
Paolo’s vision is about representing not the real light, but the ‘ideal light’, the idea of the infinite, a new journey. A journey in which the tangible becomes intangible and the essence takes the place of consistency. A journey, therefore, of the soul.
His creations emerge from a continuous research: starting from the infinite, from an interaction between light and dark, between mysticism and surrealism to the realization of the impossible.
The artist attempts to recount the existence of man in his most simple condition, in which emptiness coexists with loss. Paolo places equal value on the void as to fullness. In his works he says, “Void exists thanks to the full and that can only exist in relation to its opposite. The emptiness therefore becomes a new dimension.”
His research is oriented towards a dimension in which light and space become intangible and spectacular protagonists.
He created ‘Ludoscopes’ in the seventies; they are three-dimensional works that propose the perception of fictitious depths, true hyperspaces-light in which the limit between the real and the illusory is abolished. He created these using the means available at his disposal – luminous tube and mirrors.
Astonishingly so, Scirpa’s “newness” does not stop being new with the passing of time, simply because it was not born as a “novelty” but as a “necessity” inherent in such work. He uses neon tubes as light and form, creating a perception of sensory illusion. He boldly displays the elements he uses and reuses for each creation.
He exhibits them for what they are, and the strong expressive role they play is not the result of a prior declaration but rather the outcome of a successful conceptual combination that never stops being effective and renews itself each time it is looked at.
Scirpa’s works create the illusion of depth through a skilful use of mirrors that greatly multiply the neon tubes. so much so as to make what is physically contained in a moderate (and visible) thickness seems to be bottomless pools, but the construction is visible, there is no trick. Now, with all the necessary caution, whoever places a work by Scirpa in their own particular space – on the wall, a pedestal, or the floor – “breaks through” that space and transforms it into an opening, a metaphorical bridge, even an indefinite and infinite passage to a world that is now unknown.
We take a small exploratory step into that world, through this campaign: The Letasca Neo-Urban Man: To be found in a contemporary environment only.