Alice and David Bertizzolo are Studio Bertizzolo. Visual artists, they are designers, art directors and photographers. David is an architect. Alice, the other half of the studio, studied philosophy. They conceive their works as if they want to sculpt the space ; a fragile balance between time and space. Symbiosis between the volumes and the dialectic, their work, monumental, in situ, are the expression of a desire: to capture time, to immortalize, like in a photograph, a moment of fleeting life. Alice and David Bertizzolo are sensitive to the notion of shared memory, the « Madeleine de Proust »; the moment – or the object of the daily life – that causes the sudden rise of a sensorial memory : a paper boat we used to put on the water, a dandelion on which we blew before making a wish, a flight of thousand birds and their aerial choreography we witnessed.
Alice and David Bertizzolo work on the recurrence. Their creations is about the multiplication of the same which forms a new entity. The material is « usual », simple, industrial, part of the daily life.
Their desire is that one of an elevation, of a monumental work on a realistic scale questioning the notion of inaccessibility and a powerful metaphysical feeling.
Their installations arouse trouble and doubt in the eyes of the visitor. The forms invoked are « natural » but created with a « product » called « cultural », manufactured or industrial. Practice and aesthetics are, here, in a dialectic relation. The object is corrupted, the scale is disturbed, as for the proportions. The heaviness of the materials can take the appearance of an extreme lightness, in total contrast with the artists’ performance whose body is put to the test. Alice and David Bertizzolo work “in tune” with the factury workers, they fit into their workplace, their schedule. They perform repeated gestures, mechanical ones, in mimicry with the workers or the craftsmen : the gestures of people at work, gestures that becomes aesthetic because of its constant repetition, gestures which, in the end, tire and transform the body.
Their sculptures are conceived around the notion of astonishment and disturbance. The visitor must constantly change his perception of the work. The eye is deliberately in a position of apprehension, in constant imbalance. It involves an active interaction with others. The bodies must be stimulated. The work is about optics, movements, lights interplay, interactivity in a spontaneous ludic expression. Their installations, though they are strongly fixed to the ground, give the illusion of a movement, a kinetic force, a deregulation of the focus. We have to turn around, to move back, to look, to see, to move, to assume, to imagine, to experience. Emotions and understanding are put into tension. Experience transcends the triviality of the object.
Postmodern architectural forms, new communication networks, cybernetics, artificial intelligence, the principle of recursion are part of their current research. The progress in 3D seems fascinating as an object of study. Their work is the fruit of a paradox ; to make the virtual (the pixel, the voxel, the 3D images) palpable thanks to the material. It is the plastic expression of a globalized revolution of the image.