Beijing, Galleria Continua, 29 April ¨C 20 june
Dashanzi Art Dst., 798 Factory, 2 Jiuxianqiao Rd. Chaoyang Dst.100015 Beijing.

Loris Cecchini (1969), young italian artist, who is already part of the most prestigious collections and exhibitions in public but also private spaces, will make a large installation in the space of the gallery in Beijing (1000 mq). The space will be manipulated and altered by his sculptures that will look like they are coming from the architecture.

Using a variety of media including photography, sculpture and installations, Loris Cecchini transfers images of familiar scenes and everyday objects into an altered vision that challenges the perception of the viewer.
He reworks his figures and objects maintaining the reference to their reality, but at the same time rendering their appearance virtual, also through the use of digital manipulation.

In his photographs, he uses models, toys and scrap elements to reconstruct miniature scenes that he then photographs, digitally inserting real human figures.

In Cecchini¡¯s rubber sculptures, a kind of duplication of reality is in progress, which respects the dimensions of the objects taken as models. The verisimilitude is not abandoned in that the sculptures are limp, folded in on themselves, as if exhausted, under the viewer¡¯s gaze. The artist examines a number of everyday objects and through the use of replicas and casts creates perfect copies of the original, which are a reproduction just of the surface of things. Cecchini focuses on the emptiness of things, considering the part that is complementary to their materiality. This practice shows how he is more interested in the cast than in the form of the objects, in observing the ¡®around¡¯ of things delineating the object, as if following a Zen practice. Objects become inert and they affirm themselves in their no longer being able to refer to a function and therefore to something other than themselves.

It is possible to relate Cecchini¡¯s choice of rubber as the basic material in his work to its covering effect, like a skin covering the object, reaching the point of establishing itself as the object in question. In his work, technique plays a central role; it is not a simple means of illusion, but is always content of representation. For the artist it is fundamental that the fiction is recognizable as such, thus leading the observer back to the real world.