Made for Premio Cramum 2019, at Villa Bagatti Valsecchi, in response to the exhibition title I Was Twenty .

Dream Is the Gap between What We Know and What We See situates at the interstice space that spearates all the things we learnt, that we wish for, that we strive to obtain, from the actual appearance of the present, the precariousness of society, of the economy and of the job market. The piece points at the dichotomy the Millennial generation constantly lives with: split between actions they have pursued following models and promises from the past generation and a continuous precariousness that invalidates them, handicaps their ability to follow a constructive trajectory, forces on them the need to be nomadic, to continuously readapt and reinvent themselves.

At the fracture between felt potential and perceived fragmentation, the work looks at mental phenomena such as dream, fancy and imagination. Can the pure play of thoughts and images - as opposed to the daily toil of productivity and consumption - provide us with a method of dissent? Can it offer us an unprecedented resource to know our surroundings? A Creative mode of action on our present?

This work is part of a series that addresses scientific representations and visualisation strategies challenging them to account for aspects of the human nature that escape quantification and rationalisation. Fragments of brainwaves taken during peculiar moments of the imaginative consciousness are blown up and reproduced into acrylic glass shapes, whose transparency, reflectivenesss and fluorescent glow bring them back to the sphere of perception.

Dream Is the Gap between What We Know and What We See focuses on the extraordinarily intense imaginative activity EEGs record in the instancts following when we shut our eyes (alpha squeaks and eye blinks). The track presents emphatic ups and downs as the subject repeatedly opens and shuts his eyes in a series of blinks. Too intense to be of use to scientists trying to establish a standard, they are normally discarded form calculations. However, they allow the artwork to attempt to frame, track and articulate that space of vision in between us looking outwards (at our surroundings) and looking inwards (into our mind and repository of imagery). The fragments of EEG in this work draw the boundaries of a space in between what is physical and what is mental, set apart merely by the thin membrane of our eyelids separating two opposite worlds.