In a suspended time, a creature wanders around an apparently wasted land. Its origin is unclear, and so is its identity. What is clear is that it is searching for something. This pursuit -both physical and introspective- materializes in a silent and dynamic dialogue with the timeless inhabitants of this land: the olive trees.
This narrative is displayed in the sequence of images and sounds that make up “Trust Me With Your Full Weight,” the video installation at the centre of Flavia Tritto’s solo show, “Extensa”.
In the scenario presented, traditional binary hierarchies are overturned: the human figure is no longer central nor dominating, but rather is “alien”, detached from the natural world towards which it attempts to (re)connect. The scene is a tangle for feelings and thoughts only hinted at, which creates an ambiguous space for visitors to inhabit.
This earthly dimension becomes the place where the Human steps back to rethink its relationship with Nature, grounding its exploration in tactile interactions that are no longer overwhelming but rather characterized by care and attunement. This vision is projected through a just perceptible olive harvesting net -inherited by the artist from her grandfather- which here takes the shape of an olive tree’s trunk.
Shot in Puglia, the video constitutes a practice of reconciliation between the artist and her roots, created when she returned “as a foreigner” after years of absence. It is a cautious rapprochement, a silent dialogue, which generates a (reciprocal?) entrusting, and a re-discovery of what it means to be human by means of environmental stewardship.
This work is also a moment for reflection on the environmental conditions of the local land, hit by the tragedy of Xylella and desertification. These ecological concerns are embedded both in the video installation and in the net sculptures, which stand simultaneously as a plastic metaphor of the problematic relationship between the Human and the ecosystem, and as a reification of the filmed vision. Meanwhile, the movements of the performer (Katarina Nesic), poetically embody the need for a different kind of approach, based on care and respect.
Thus, in this epiphanic passage, any hesitation or superstructure is swept away and replaced by a suggestion of a symbiotic oneness with the environment, which can only be achieved if it becomes collective practice.