Shape spitter

Giulia Nomis

When I first met Monica Taverniti, I thought she was a shape-spitter. I’m sure that, in someyellowed book from the Urania series, someone has already taken the trouble to describe this type of creature. They are sentient organisms that have accidentally slipped onto this planet, expelling clusters of shapes onto their inclined plane, spat out, so to speak, by the centrifuge of the world they come from. With Eega Beeva’s same naivety but more bones and hair. These objets trouvés from space, drifting in the vapors that separate worlds, find their attire, their universal maquillage. Lines and grids indicate that they were written at a certain rhythm, the shapes and angles play with monumentality, and the colors are measured in light-years. The relationship between the parts is architectural; they are not mere shapes but functions that communicate with the scale of an instant city – one we do not yet know or that has not revealed itself. Scale expresses the design ambiguity of the work which is necessary to guarantee a degree of anonymity to the intimate and molecular metamorphosis of forms. It hardly matters whether they are megastructures or micro-architectures, cities or inhabitable furniture, toys for parrots or enigmatic fortresses, consider them your kin, with multiple personalities, ecumenical messengers of a playful and honest alliance among beings.

吐形者

Giulia Nomis

我初認識 Monica Taverniti 時, 以為她是位「吐形者」。這種生物我深信早已有人在《Urania》系列的某本陳年書刊中描述過。吐形者是意外降臨地球的有知覺生命體, 在登陸的地面上, 吐出由母星離心機所製的多組圖形。牠們與 Eta Beta 一樣天真, 但有更多骨頭和毛髮。 那些圖形是失落於未知維度的現成物, 於分隔世界的水汽中漂流, 尋覓合適的裝容。吐形者所繪的線條與網格都遵循特有法則, 形狀和菱角英偉壯觀, 顏色則以光年為單位。不同個體間的相互關係如同建築模件；它們不僅是立體圖形, 還形塑一個更宏大的存在——一個還沒現身或我們尚未知曉的「即時城市（instant  city）」。以超越維度的規模模糊作品的設計性質, 乃圖形變異時所需的隱秘之術, 掩藏其分子層面的生物變態。它們是巨型結構或是微型建築, 是城市抑或可居住家具, 是鸚鵡玩具還是神秘堡壘都不重要。你只需將之理解成一位多重性格的親人, 一位以真誠和趣味連繫眾生的普世使者。