After the Sirocco Micronation discovery—if the Federal Commonwealth of Sirocco and Siroccan language exists, if it matters if it exists, if it can exist in the digital world alone and still be a Micronation—an incredibly beautiful jewelry collection by the Sicilian designer, Mario Trimarchi, was brought to my attention by a SiroccoBlue honorary reader. In fact, she is our first reader and commenter but I haven’t asked permission to use names so I’ll wait on that!
Not only is the necklace fascinating, the designer uses the Sirocco wind (Scirocco, in Italian) as creative inspiration and also as a source of connection to memory. The Museum of Modern Art’s MOMA Store description involves memory, evoking the recent SiroccoBlue saudade series, and the idea that wind can carry the messages of the ancestors and the memories of those who came before us:
“From Mario Trimarchi’s La Stanza dello Scirocco collection, the Scirocco Necklace is inspired by Trimarchi’s childhood memories of playing cards that would swirl mid-air from the gust of a Sicilian tornado wind. Constructed from mirror-polished stainless steel, the piece creates an alluring display of light and shadow on the skin. Made by Alessi, an Italian-based manufacturer whose work is featured in the Museum’s collection and has been displayed in several exhibitions.”
You can see reviews and purchase on the MoMa Store website (no commission for SiroccoBlue.com, we just like the design!):
But, even more interesting, look at how Mario’s necklace emerged and took form in his Sirocco drawings series:
His series, Clouds, perhaps clouds carried by the Scirocco, also seems to have inspired the beautiful necklace.
Yet it is his writing on the art forms that are most striking and illuminate ideas that I’ve been trying to communicate via SiroccoBlue: the wind system is one that is profoundly tied to memory and it is a creative source of constructions, physical and immaterial forms come out of this wind system (perhaps even Mirco nations!).
Trimarchi conntinues, “then I continued with other borderline themes: drawing islands and observing them like little architectures of stone, or drawing clouds and listening to their silence.” Stone which turns into jewelry. Wind which is memory, which turns into an aesthetic. This reminds me of the capacity to feel presence in absence, absence in presence that was explored at length in the Saudades series.
Boders, frontiers, crossroads: these are the spaces that Sirocco embodies. These are the spaces of translation, the spaces translators move across. It is also the space that the film Vengo, by Tony Gatlif, occupies (soon, I will be exploring the film using a Sirocco Theory that I’ve been developing).
These ideas inform Trimarchi’s “La Stanza dello Scirocco” series which the artist describes as “A collection of arhythmical objects generated by the obsession of drawing the form of the wind. Asymmetrical products with big shadows construct a new paradigm for an unstable but optimistic way of living.”
The form of the wind, as those of you reading SiroccoBlue, is at the center of all of the writing and exploring. Mario Trimarchi, then, will be yet another artist that I follow. Trimarchi’s measurement of time through the Scirocco will be the subject of a future article on this great Sicilian artist!
This article, written by Jacob Dyer Spiegel in English, explores artistic “uses” of the Sirocco wind. The wind theories and coordinates described here are part of a book project on the crossroads and translation (more on that to come!). Please “Like” SiroccoBlue on facebook to stay in the loop and follow the series! We offer a series of services in the fields of education and translation, as well. Soon, exploration of Tony Gatlif’s film, Vengo, which becomes a kind of map into the Sirocco wind system and the aesthetic patterns that this blog explores.