Giorgio Bormida of Savona

With which objects and spaces of your daily life are you interacting the most?
In this time of pandemic, forced to wear masks, we lose the traits that distinguish us. Only the eyes remain visible. Even the looks have changed, more tense in wanting to identify, in a passerby, a friend of ours, an acquaintance, a stranger. We subconsciously know that our image to others is also different. For these reasons, the mirror that reflects my image when I enter and leave the house has become the tool of a ritual with which I regain possession of my characters, without masks. Every day the mirror scans my face, registers the slightest variations of expression, in mood and, in one second, he returns his opinion to me. Of course it is an instant report, not lasting and definitive, virtual and liquid like a computer screen, while I patiently compose the images of my works. Here are two different ways of mirroring yourself: paradoxically the most truthful "mirror" is that of the computer, reflecting thoughts, emotions, inner changes and images. A mirror in which I recognize myself, which makes the contours of my identity clearer. It is no coincidence that I titled Mirror a small series of works created in recent months.

We are dealing with a new time and space. What are you discovering or rediscovering about yourself?
In a historical period in which everything is accelerating out of control, the pandemic has forced us to delimit space and time. After the discomfort you feel in front of the sudden change of rhythms and habits, I discovered the value of patience in rearranging and selecting my artistic path and my works. Time is an important component in the construction of each of my images, time made up of minutes, hours, the time of my life that concentrates as I work in one point, an instant, an image, a sequence of images, a succession of numbers… the numbers of existence… I believe that “my time”, that of the "reading" of my work requires, inevitably, patience. In a liquid and rapid world like ours, this dimension is being lost.

We are realizing that we can live with less mobility?
Certainly one can live with less mobility, especially in the workplace. The only mobility needed is that of the mind.

Artist and musician, George Bormida (Ledge, 1969) lives in Savona.
He graduated in 1994 in scenography at the Academy of Fine Arts G.B. Cignaroli of Verona. From 2004 to the 2008 he is a production designer at the Teatro Carlo Felice in Genoa. In 2005 with Act One realizes Madame Curie's room for Children of Uranium at Peter Greenaway and Saskia Boddeke. In 2012 his first book is out Opera curated by Barbara Steele for Vanillaedizioni. In 2016 his first solo show LONG ENOUGH at Sabrina Raffaghello Contemporary Art, prize exhibition of Arteam Cup 2015. In 2017 in collaboration with Emsteludanza and Vanna Varnero creates the Nombril Project realizing [2018] the visual installation of the performance Mue. In recent years he has dedicated research and elaborations of the world of photography before the advent of color through old family photos. They have been the subject of attention and awards: The Eye of Photography, Black & White Spider Awards, ND Awards, Square Magazine, Photographize, Monovisions, Fine Art Photography Awards, Circle Quarterly Art review, Art Reveal Magazine, Eye Photo Magazine. He was recently part of the “Piano Microstories – The Eighth Note” for the composer Fabrizio Paterlini. www.giorgiobormida.com