Painter | Sculptor | Glassmaker
Black Honey, Dickens’ Room, House of St Barnabas in Soho, London, United Kingdom – 2018
This site-specific installation for the Dickens Room of the House of St Barnabas aims to highlight the substantial decline in many species of bees in the UK.
Under threat from loss of habitat, pesticide use and rising global temperatures, their future has never looked blacker.
The installation features an audio recording triggered by motion sensors inside the beehive.
Dickens’ Ghosts, Garden of the House of St Barnabas in Soho, London, United Kingdom – 2018
Paying homage to Charles Dickens’ connection to The House of St Barnabas, Roberto Cambi has created this playful installation of ghosts, ascending the historic plane trees to escape the walled garden – the inspiration for Dr Manette and Lucy’s home in A Tale of Two Cities.
“Ghosts all! The ghost of beauty, the ghost of stateliness, the ghost of elegance, the ghost of pride, the ghost of frivolity, the ghost of wit, the ghost of youth, the ghost of age, all waiting their dismissal from the desolate shore, all turning on him eyes that were changed by the death they had died in coming there.”
– Charles Dickens, A Tale of Two Cities
The Oracle, Chapel of the House of St Barnabas in Soho, London, United Kingdom – 2018
First seen on the island of San Servolo in the Venetian Lagoon, the installation is being exhibited in the Chapel of the House of St Barnabas in London.
Erected between 1862 and 1864, the building was partly designed from the plans of a Romanesque chapel attached to the Abbey of Montmajeur in Arles.
It is a symbolic and evocative setting for an installation which highlights the complex relations with rationality, faith and superstition.
A stinging satire on British politics and the trappings of power.
Gone are the humble mice holes in the skirting board. A much more sinister pest infestation has taken hold of 10 Downing Street.
Installed for the first time on the landing of the reception staircase of the House of St Barnabas in Soho, London.
Sixteen pieces presented together as an installation at the Arte Forlí Contemporanea exhibition in 1990 and in a smaller ensemble of seven at 4cento in Milan in 2014. Together with a motto from one of the seven sages of Greece, each piece has a hidden mechanism to make the head gently rock on the pillow. They are a reflection on people’s lack of wisdom and common sense.
If it does not kill you, it fattens you, Spazio Nibe, Milan, Italy – 2016
Roberto Cambi’s piece, the aptly named ‘Se non ammazza, ingrassa’ (if it does not kill you, it fattens you), debuted at ‘Parole, Cibo, Ceramica – viaggio tra mondi trasversali’ at the Spazio Nibe in Milan.
Originally the display was a lot more ambitious: it was conceived to give viewers the opportunity of helping themselves to real food inside the ceramic body, a sort of collective act of cannibalism to better represent the greed of our times.
Containing approx. 70 items.
A SHORT Q&A WITH ART SURGERY
AS: How long did it take you to plan and finish this piece?
RC: It took me about two solid months from the first sketch to finishing it.
AS: The inspiration for this work comes from a futurist manifesto of the 1930s. How important is it to know all the background details when looking at this work of yours?
RC: The Curator of ‘Parole, Cibo, Ceramica’ showed it side by side with the ‘Manifesto della Cucina Futurista’ by Marinetti and Fillia to help viewers explore the literary inspiration for this piece and the connection to the theme of the exhibition. It added an extra layer, but it is not by any means necessary to understand what it is about.
RC: I wanted to distance myself from well known labels to leave more space for creativity and allow the viewers more freedom of association: different countries have different names for virtually the same products. Therefore brand names would have been more of a distraction. It made it also easier to introduce cheeky items like plastic tuna or alien pills.
RC: It’s the expression of someone who has just realised that they are hooked on junk food, shocked by the extent of the addiction and in denial about the sheer amount already eaten.
RC: Reactions have been diverse. Some visitors have been attracted by the complexity and visual excess of this work. People have pointed out that we all are part of a virtual battery farm and it takes a lot of effort even to notice what we are fed. Some have simply remarked that it is not easy to stick to a healthy lifestyle.
My intention was to highlight the importance of food and its nature not just in terms of nourishment, but also as an expression of the culture and the identity of people.
RC: No, there isn’t a deliberate layout. I placed all the objects randomly. A sort of spare room where all the junk of the house seems to end up.
RC: No, items are not removable, but I am creating some additional smaller pieces to complete and expand this work in time for the next exhibition. They will be displayed on cake stands and inside soup bowls.
RC: Most of my work is influenced by Pop Art as I like that irreverent, mocking and downright flippant element of it. With this installation I decided to combine a lighthearted visual aspect and a more serious dig at our eating habits which are appalling.
Food for thought: we wanted to distance ourselves from the dishes of our grandparents because we judged them as too simple, inadequate, not modern, so we embraced expensive, but nutritionally poor junk food. Now we spend a huge amount of money sourcing unadulterated food for a healthier and more balance diet, which was what we had in the first place. And what about the juxtaposition of diet and social background?
Magic Flowers, SIAM, Milan, Italy – 2015
The Society for the Promotion of the Arts and Crafts (SIAM is the Italian acronym) was founded in 1838 by cultural luminaries such as Heinrich Mylius, Antonio De Kramer, Michele Battaglia, Luigi Magrini and Giulio Curioni with the aim of supporting the technical progress of the manufacturing industry in the Lombardy region of Italy.
Since 1889 this institution has been housed in a palazzo in via Santa Marta in Milan, designed by Francesco Pestagalli and inspired by the “Renaissance Revival’ style of the second part of the 19th century.
When invited to contribute a work of art to an event called ‘Cortili Aperti’ (Open Courtyards), organised by the Historic Home Association of Italy (ADSI) to encourage people to explore outstanding houses, buildings and estates, Roberto Cambi was offered the library of SIAM1838 as the setting for his installation.
Amongst a wealth of scientific and technical books dating as far back as 1534, the most cherished are a copy of the ‘Encyclopèdie Ou Dictionnaire Raisonnè des Sciences, des Arts et des Metiers’ by Denis Diderot and Jean le Rond d’Alembert (1758-1776) and a complete copy of ‘Description des Arts et Métiers’ by Duhamel du Monceau (1761 – 1779).
‘Magic Flowers – Imaginario Planum’ mirrors the blossoming of past ideas which went on to change the cultural landscape of the region.
Both the foundation of the Politecnico of Milano (Polytechnic University of Milan, the largest technical university in Italy) in 1863 and the creation of the Esposizione Nazionale (the first national trade fair) in 1881 were conceived within the ranks of this organisation.
The brilliant white flowers still maintain the purity of something newly born and have yet to take in the colours and details of a wholly defined project.
Although seemingly suspended in the air to remind us that this was a place where innovators would have floated their ideas, they are deeply rooted in the tremendous intellectual legacy of the site.
These alien flowers might not be indigenous to the culture laden environment where they have blossomed, but they certainly reflect the historical drive of SIAM1838 to embrace and nurture new projects.
Photo Credit: Alessandra Sofia
The Oracle, Venice Lido and Island of San Servolo, Venice, Italy – 2014
There is something deeply flawed yet inherently human about the struggle to keep pace with technologies developed to enhance lives. People are eagerly and enthusiastically over connected. The sheer amount of words and images might give the illusion of barriers being breached and distances shortened, but it’s the struggle to process the constant stream of information that shapes our days.
The fast pace does not embolden us, rather leaves us feeling inadequate. The heartache of the future is the doubt of the past: people scamper, but do not move on. The same old worries about love, health, friends and family are undermining this false progress, searching for answers to questions that a bloated and superficial knowledge has failed to address.
Drawing inspiration from ancient Greece, the Oracle is possibly an homage to Dodona or the Pythia at the Temple of Apollo at Delphi. It relies on the willing suspension of disbelief and poetic faith of a viewer hoping to quash any uncertainty about the future.
First exhibited on the island of San Servolo in the Venetian Lagoon, the installation comprises a number of suspended sculptures – the Oracle – together with a set of wheels and a platform. The latter is connected to the arms of the Oracle with copper wires, so that any time a spectator stands on it, a connection of sorts is made to this sage. The wheels are inscribed with a list of possible questions and answers and can be spun to obtain the Oracle’s response to any query. Their movement mimics the randomness of life and mirrors what some might call fate.
In the words of the artist, the interaction with the sculpture highlights the easy transit from rationality to faith to superstition, but also the distorted belief that mankind cannot influence or determine its future.
The frame of the installation is 5m high, 2.5m wide and 2.5m deep. The Oracle is 3.5m high, 1m wide and 1m deep. It is formed by a male bust, approximatively 100 arms and ocular bulbs. The platform is fixed about 2.50m away from the main frame, but it is connected to the main sculpture with copper wiring.
AN INTRODUCTION TO THE ORACLE |Written in Italian by Ilaria Datta – Translated by Chris Jordan|
The inspiration for this work of art might seem to be the Oracle at Delphi, which is at the centre of the tragedy of Oedipus. The focus of this piece is not the oracle itself, but the platform where a person waits for questions to be answered.
A visitor has to wait until the mechanism is set in motion. The wait is variable and can last up to three minutes. This is a reference to another myth: the story of Telemachus and Penelope patiently waiting for Ulysses’ return.
In times of uncertainty, it reflects on the present using references to Greek mythology with a modern twist. Stop, listen to the questions coming from your inner self and wait for the wisdom to surface from deep within. On the platform one is alone with oneself, the oracle is just an excuse, what really matters is the wait.
The myth of Oedipus, which begins with Laius consulting the oracle, ends with Oedipus being blinded, which helps him rediscover his true nature. The story of Ulysses ends with a reunion, which is the reward for patience.
This installation requires the visitor to step onto the platform with the body of a young Oedipus, with the patient nature of Penelope and with the gaze of Telemachus looking towards the sea.
It’s Only a Matter of Time, Ex. Macello, Padua, Italy – 2013
It’s Only a Matter of Time, Arsenale, Venice, Italy – 2014
The body of work for “It’s only a matter of time” was first displayed at the Ex. Macello, a former slaughterhouse, in Padua in 2013 for the exhibition “Futuro Anteriore”.
Whilst walking the corridor created by the installation, visitors were enveloped by the sound of crashing waves and met by a real goldfish in a bowl suspended in the air.
This work of Roberto Cambi then moved to the exhibition “9th International Arte Laguna Prize” in Venice in 2015 with a different configuration to suit the new surroundings. Selected as a finalist from the section “Sculptures and Installations”, it was awarded the prestigious Open Prize.
The stark space created by hanging the large fishbones reflected the themes of social isolation, depletion of natural resources, never-ending cycle of life and death and more broadly of human fragility. Like a collection of colourful glass washed up on the shore after a storm, Roberto Cambi’s detailed artifacts, lined up in glass jars full of water like preserved specimens, are also a powerful reminder that few stages of life are final.
Everything gets recycled, finds a new place or use, and death represents nothing more than the beginning of life under a new guise.
The installation comprises 36 white clay fishbones, 10 glass containers with glazed ceramic objects immersed in water, sound, and Zagor, a gold fish who usually resides in the artist’s studio in Milan.
A SHORT Q&A WITH ART SURGERY
AS: Where did you get the inspiration for this work?
RC: Inspiration for any work is often born out of an impression. When I was invited to exhibit at the Ex. Macello in Padua, I took some time to explore the location, which is something I always do, to get a feel for the space, but also to gather any memories associated with it.
It is an imposing building from the 19th century, straight out of the industrial architecture of that time.
Despite the extensive refurbishment and transformation, it still retains a lot of the original features such as drains, hooks and pulleys. This is a former slaughterhouse, a place of death, where thousands of animals were killed. As you can guess, it didn’t take long for the association of images to form in my head: bones, scarification, fragility, the transience of life on earth, our actions which in turn make our future even more uncertain.
AS: The word installation already implies the transformation of a space. Given the size of ‘It’s Only a Matter of Time’, do you usually have a location in mind when you start a piece or do you create it in a way that makes it easy to adapt it to different surroundings?
RC: I generally like to size up any space, look out for the potential and create a site specific body of work. At the same time I try to inject some flexibility in my work so that I can adapt it to suit different locations. Think on an elastic band that can be stretched, but can also resume its normal shape any time.
AS: It won the Open Prize at the 9th International Laguna Prize. What difference does winning an award make to you or to the value of a piece?
RC: To be awarded such a prestigious prize by an international panel of judges when you get picked out of two thousand other artists from all over the world is certainly a satisfaction and a boost to your ego, your drive and your popularity. Prizes are often an indicator of where your work stands on the international scene.
AS: Both the Ex. Macello in Padua and the Arsenale in Venice are amazing locations. Is there a particular art destination where you would love your work to be exhibited?
RC: Some of my favourite destinations are the Triennale and the Fondazione Prada in Milan, the Biennale in Venice, the Fondation Luis Vuitton in Paris, the Saatchi Gallery in London or the Moma in New York because of their incredible drive to promote contemporary art. However it is not only a matter of business, but of different synergies too: smaller galleries might not just exhibit your pieces, but might be more open to work together at new projects.
AS: Given that art installations are so ubiquitous at the moment, what comes first: maintaining your integrity as an artist or pleasing the crowd?
RC: The million dollar question! I think that maintaining your integrity is definitely what matters as an artist. You need to believe in yourself and what you do.
AS: Since your work constantly gets to be scrutinised by the public, do you consider your studio a sort on inner sanctum or is it open to the public?
RC: My studio is like a sacred temple where I turn my ideas into reality, but at the same time it is a meeting place, a place of dialogue and debate. Apart from truly manic periods, it is open to any visitors.
AS: Do individual elements of an installation get separated and sold off or are they strictly kept together?
RC: Yes, most of the time they are sold individually or as part of a smaller installation.
AS: How easy is it to part with a work of art which has taken so much time and energy to create?
RC: It is never easy. Instinctively we are all hoarders because we project a lot of ourselves into what we create. Only with time and a strong will you come to realise that the very moment a piece is ready for the public, it does not belong to you anymore.
AS: ‘It’s Only a Matter of Time’ deals with the rather heavy burden of human fragility. However most of your work is visually fun and lighthearted. Is this a reflection of the way you are as a person?
RC: Mine is a fun filled and playful vision of life. My work has always an irreverent and ironic side to it. We are already often surrounded by tension and negativity. I personally tend to see the glass half full.
AS: Which single word would you associate with this installation?
RC: Extra-ordinary
White Baccelloni and Green Flowers, Castle of San Pietro in Cerro, Piacenza, Italy – 2013
Contribution to DesigNaturArte, an outdoor art event focused on the relation between people and nature.