"Gemis Luciani manipulates, de-composes and re-assembes common objects such as design magazines, phone books and 3D architectural renderings, he reconfigures them in newly built systems of shapes and surfaces. His collages and spatial, large scale installations are meticulously created, and rely on a strong minimalist aesthetic." See more;
Marginal Compositions, 2013
magazine on dibond with frame / 40cm × 50cm x 5cm
"Marginal Compositions is a project in development centered on the investigation of a marginal space’s aesthetic qualities. The works are realized with various magazines. Every magazine’s page is folded in a way to erase the textual element of the previous page and to leave only the margin visible. The compositions are produced by repeating this action until the magazine’s surface is completely covered. Every work is a representative but not definitive image documenting this kind of space’s expressive potential."
Models, 2010
magazine on dibond / 40cm × 60cm x 3cm
"Models is the title of a series of collages created by systematically folding fashion, design, music and architecture magazines. Each "model' represents a typology of movement within the enclosed layout of the magazine. Each page is folded upon the other so as to hide the text of the previous page. This forms a flow of visual elements, a series of fragments that articulate vertically on the entire surface of the magazine. “Models” is a methodology for the construction of an image which interacts with the spatial organization of paper-based communication through a different compositional model."
Piece of Space, 2011 -13
phone book / 40cm × 30cm x 18cm
“Piece of space” is a research project on the relationship between word and image in the visual representation of urban spaces. The works are realized using telephone books, cut and fixed to the wall.
Flexible Shapes, 2013
telephone directory of businesses / 40cm × 20cm x 10cm
"Flexible Shapes is a research project about a sculpture’s morphological flexibility, made of a series of 10 pieces realized inposing an intervention onto a numer of Yellow Pages books. The works are modified after every public exhibition. The work’s transformation, the shape’s durability and its persistence in time are all defined by the exhaustion of the formal possibilities offered by their pages’ sharp cut. The works are exhibited as plastic temporary configurations of an object, until they reach a more permanent sculptural definition."
