In the cosmos, the human cry is equally matched by a disproportionate noise, a falling tree, an earthquake, cracking ice, a storm surge, an erupting volcano. Energy charges that vent in a powerful act that in turn creates new reactions even at a distance of time and space.

It is an imbalance that triggers the explosion of a charge accumulated over time.

The scream, the cry, consists in the externalization of what can no longer be contained. An act characterized by a thunderous sound capable of inevitably changing reality, nothing remains as before.

In a consequential relationship where the effect of the action is not always direct and immediate, sometimes there is a human factor or a hidden element capable of great resonance.

In humans, an accumulation of frustrations loads a certain amount of anger, desperation or conflicting feelings, which due to a further imbalance give vent to screaming. It is the sonic externalization of an intimate and internal feeling that takes shape in sound waves until they vanish.

We live in a collective state of constant annoyance and anger, often accompanied by an intense desire for a symbolic explosion.

The reaction that one wishes to obtain through the cry comes separately and secondarily to the act of venting and involves other senses, other emotions and other entities that do not directly depend on the physical act.

The cry indirectly involves the psychic and physical reactions of the other, it is resonance and affirmation of oneself and others, pain and belief, it is capable of being charged with political demands, desires and aspirations despite its characteristic immateriality.

In this time of silence, shouting is revolutionary.

 

The collaboration was born from a shared need, a desire to seek the scream, the explosion as destabilizing as it is necessary by using our artistic languages, fusing them and placing them in dialogue. The possibilities in describing a common feeling through different artistic languages, the result of different paths, immediately showed interesting results. The first objective was to work together on the immateriality of the scream, to work on the void through the fullness of sculpture, clay and metal.

The second objective was to reflect on the user's relationship with the work. Our intent was to create a sculpture-device capable of resonance.

We wanted the user of the work to enter it by walking next to the structure that supports the scream accompanied by a state of anxiety arising from the sense of fragility of the work, as if the spectator himself could trigger a further explosion.