“Tavole emozionate”
by Alessandra Caliendo

 With the materials I choose for the elaboration of the “Tavole” (sheets of paper A4, tempera and a lot ofwater), what I have called "Technique of the floods" has taken shape: something like watercolours, “watered” tempera, through which I have emulsified some spaces by means of my emotions. "It would not be said, looking at them... photographic paper, where is the tempera?...but what has happened?".
It is a slow technique and that it allows me to visualize a wide range of images that are very interesting, but cannot be saved or showed as original copies, because they are "phases" of a process that must arrive to a last objective, different from the intermediary passages and for me deserving the same attention, being a step, implicitly contained in the complete work, that however doesn't show it and no more existing: once reached the extreme step, the last image, beyond which you find the mixture of colours and the lack, the destruction, the passage of the work.
The water and the pigment that I moved, flowed and flowed and flowed and flowed, and images and images were born, one after the other...I have taken what I was interested in and then I have copied it in the computer to be able to draw photos out of it.
That's why "series of images."
In other occasions, I have preferred only a phase of the process, here there are the single “tavole”. Having dealt with cameras and computers, I wanted these ones also taking part of the process, not worrying about some faults of digital techniques and using graphic and photo-retouch softwares.I got this result through a theatrical work I previously made " Blue, la vita nonostante la morte/Blue, life in spite of death": theatrical version of"Blue", Derek Jarman’s movie; it was then that I undertook the “Tavole emozionate”.
In that case many “Tavole” were representative of phases of well definite moments and emotions that originally D. Jarman had proposed through texts, music, sounds, silences and exclusively one color, Blue Kline (IKB 79).
I made some single pictorial tables, on paper, still existing, containing the above-mentioned information, that I wanted to scan to make a video to use as a part of the theatrical set. In the course of images scanning and video editing I realized the further chances the technological means could give me. Once I carried out the show, free from that engagement, I started exploring again my emotions through those means.