An anatomy of fear
by Alvaro Deprit
Throughout my career, I have always been interested in viewing the world through particular perspectives, such as the perceptions adolescents have of reality. Adolescents represent a lens through which I observe the world, as they can be considered identities in transformation. In this context, some of my works, like Fiesta and Suspension, address specific conditions such as moments of suspension, uncertainty, or changes during adolescence. An Anatomy of Fear specifically reflects on a new model of the mind composed of many sub-minds constantly interacting within us, as posited by American psychotherapist and researcher Richard C. Schwartz. We are all multifaceted, with our identity being a composition of parts that are sometimes revealed through the creative process. The dissection of identity, the creative process, and the artwork itself form the foundation of this project, providing a privileged channel to scrutinize the unfolding and transformation of identity over time. The series investigates how a generation of students has evolved in a continuous narrative between being and becoming. I have considered their external fears during a historically unstable and fragile time, alongside internal fears such as shame, judgment from others, control of irrational traits, and the parts of ourselves we have tried to bury. The work was realized within an art school in Italy, where I specifically followed the simultaneous evolution of the artworks and the students’ identities. In the workshops, the sculptures in progress were wrapped in plastic by their creators to preserve moisture, giving rise to biomorphic forms. These visual symbols of underlying unease suggested enigmatic objects and unborn bodies, manifesting an uncertain future. The sculptures, still in progress and wrapped in the fragmented time of creation, become mirrors of the students’ ever-evolving identities. They crystallize moments of personal growth, revealing deep connections between the creative process and self-construction. The allure of suspension, the anticipation of imminent events, and the tangible reality of these forms, as authentic as their creators, captured my attention. I sensed that the interruption of the sculpture creation process was more significant and revealing than a continuous narrative of unfolding events
