Tired Eyes Dislike the Young, direct UV digital print on aluminum, 25 x 50 cm, 2019
Edition of 10 + 1 AP

The abstract image, printed on aluminium, has lost its figurative legibility due to the an algorithm that allows inserting a fragment of text inside the binary code of the digital file - a high resolution scan of a floral silk foulard. Part of an entire wardrobe that belonged to a deceased person and was preserved for years by her partner, the silk accessory has not undergone the process that many of these garments have been subjected to, separating the wool components from those fibres that cannot be regenerated, such as cotton and silk. Vanello has used the regenerated fibres from the clothes, combined with other materials, to create an installation that investigates the relationship between human beings and matter during the process of mourning. It explores the phase of the elaboration of pain, when instinctive and emotional impulses are triggered that tend to humanize objects and materials that belonged to the person who is no longer here, in an attempt to overcome the loss.
The aluminium sheet holds the memory of a physical contact: of the body with the garment, of the fabric on the glass of the scanner, of the image printed on the metal. Both a material and emotional story at the same time, it is inscribed within the poetry of the artist, interested in exploring philosophical concepts linked to materiality, investigated through a sculptural process of acceleration and reversion of matter from one state to another.

Luca Vanello (b. 1986) is an Italian-Slovene artist based in Berlin. He graduated from the Universität der Künste Berlin with Professor Gregor Schneider and with an MFA from the Slade School of Fine Arts, London.
Informed by long-term research, Luca Vanello’s practice explores the material, technological and biological implication of non-human entities in processes of distribution of the visible. Approaching matter as a vibrant agent, it addresses the role of materiality and its cycles in processes of perishability, biological decay, circulation, and the politics of care and intimacy. The work compromises sculpture and site-specific interventions, co-existing with other media, such as digital image alterations, text/poem, and performance. 
Selected recent exhibitions include: M HKA, Antwerp; Sonsbeek Quadriennial, Arnhem, Netherlands, Centre de la Gravure et de l’Image imprimée, La Louvière Belgium;  Casa Atelier MUSEION, Bolzano (solo); Netwerk Aalst, Aalst;  KW Institute for Contemporary Art, Berlin (solo); Qalandiya International Biennale, Ramallah; Fondazione Ratti, Como; Banff Centre for the Arts, Canada; OUTPOST, Norwich (solo); Museum für Fotografie, Berlin; The Showroom, London; Poppositions, Bruxelles, (solo).    
Vanello has had residencies at: HISK, Ghent, Fondazione Ratti, Como; Banff Centre for the Arts, Canada; Rupert, Vilnius; OUTPOST; Norwich; Lottozero textile laboratories, Prato.

From the series Dub Freight
Dub Freight #487-#496, linen second-hand fabrics, print, painting, embroidery, 2023.

The Dub Freight project was conceived in 2020 and is ongoing.
Begun as a way to use materials at hand, make something out of nothing in constrained circumstances (Covid 19 lockdowns) and maintain contact and exchange of energy between artists and colleagues. Rectangles of recycled fabric with text and value amounts (numbers in a sequence of making) printed on the surface were and continue to be shared with people for an exchange of feedback on the future life of the cloth.

During a residency at Lottozero in 2023 Sarah CrowEST made a special edition on heavy, antique linen, sourced from Prato charity shops. The artist exercised a light touch through multiple processes (sublimation, foil and screen printing, digital embroidery and labelling), allowing the qualities of the linen and signs of time to remain visible.
The series is available on the Lottozero online Store and on LON Gallery, Melbourne, Australia.

I wondered what it would be like to ‘print money’ to give away, to generate ‘wealth’ starting with only what I have at hand and to create a currency.
At first the €, $, £, or ¥ figure or number was symbolic, being neither the purchase price nor the actual value of the cloth. The €, $, £, or ¥ figure is actually a number in the sequence of making but presented as currency. I hope it might provoke discussion around the value of materials and processes, their use and abuse, the nature of circular economies or just endless circulation.
Over several years, as the project has grown, the sequence/currency number has become the actual price.
Mostly I hope the €€€€s stimulate care […]
Sarah CrowEST

British-born, Melbourne based artist Sarah crowEST works across discipline boundaries of contemporary art, social practice and textile craft. Her recent output occupies a conceptual space between painting, working apparel and the graphic qualities of text. CrowEST takes a critical interest in the provenance and value we place on objects, the processes and materials they are made of and their use and reuse.
She has a PhD from University of Melbourne, Victorian College of the Arts, 2013. Recipient of many awards, her work is featured in the book Vitamin T. Threads & Textile in Contemporary Art, edited by Phaidon, 2019.
CrowEST is represented by LON Gallery, Melbourne.

www.sarahcrowest.com
Sarah CrowEST Portrait