When the machine creates and the creativity is machine.
Or also as an alternative subtitle "the artist in the age of its partial substitutability".
From "Modern Times" of Chaplin to the things that us humans cannot even imagine, as those viewed by Roy of "Blade Runner"; from the production line, the Taylorism&Fordism, to the literary and video cyberpunk, a whole century has witnessed the increasingly massive intervention of “the device”, of serial automatism on humans’ wills and thoughts.
In parallel to the advent of electrical addiction and mechanical dependency, our evolution - or only maybe our going forward - has been characterized by the consenting imposition of the machine in our life styles; our existential habits that do not know how to be single, force us to look for noncorresponded company in hi-tech apparatuses that satisfy each necessity and that one can bring everywhere.
Turning above and beyond the now very recognized web and fileart, digital photography and vectorial image, the video art and the new experimental methodologies, the increasing adoption of scientific and programmed elements is evident in the Artist of the new era.
The unconscious creative, which above all is a human unconscious, is so aware of the constant inescapable consequences established by the electroauthority mistress (which in turn is in perfect harmony with the fast and furious passing of the days we live in), that it makes an increasingly recurrent and constituent presence of doing art. Thus, promoting it from a past role where the subject is taken into examination for a figurative-conceptual process inside the work, to a different role of irreplaceable creative hand with which to engage in dialog and to confront themselves to constantly produce it together, the work.
Battaglini takes this relationship to the limit using a software “pattern maker”, which after processing a fragment of an image selected by the artist, divides it, alters it, reproduces it and re-assembles it, ending up with a totally random composition that flees the approach of cause, purpose and predictability.
The results (unlike the patterns of geometric and symmetric reproduction that assume a predictable shape) do not follow any describable deterministic model.
It is a provocation to the role of the machine in the artistic production;
It is about the boundaries between human creativity and informatics creativity.
It is an investigation of the edge where something perceived as visually organic, turns into something visually synthetic.
It is the dichotomy of contemporary men, struggling between their original naturalness and an ever more artificial future.