The Ontology of Theft is a filmic essay in which it is visually analysed the role imagination has in my life. Everything in it has something to do with memory and imagination, intended as opposed entities to creativity and chance. The act of stealing embedded in the name represents the artistic practice or better its appropriation of those hectic moments hinting at the transcendental that only creativity can provide. The language of the glitch expanding within the video reflects the notion of creativity as something happening to us. The short film has been informed and inspired by the philosophies of Henri Bergson and Gilles Deleuze, whose relations with video artworks are well explained by Homay King in her book Virtual Memory (my interview of her can be found here).

The video essay aims at the creation of what Deleuze called a lectosign — an image which needs not only to be seen but also read and thought about so for a wider understanding to take place; it is intended as a journey that can be done as differently as the many spectators who undertake it. Within the video essay, there are so many symbolisms and hidden relations that no one can understand, except for me. For instance, what I see in Giorgione’s painting La Vecchia (“The old woman”), showing at both the start and end of the short film, is a wish to live our lives as the old lady did; she is portrayed at the end of her life, very fatigued, and yet feeling fulfilled by the intensity and way with the which she lived it. However, there is room for many other connections to be found I am not even able to predict of, and I believe such flexibility to be the best characteristic of a lectosign. In this regard, it is very relevant to my practice the reference to the Italian painter Giorgione done in the video. His symbolic and mysterious form of art originated out of the private dialogues between the painter and his commissioners. He was the first Renaissance artist whose commissions were not public, making of his works of art cryptic, unresolved puzzles very similarly to conceptual arts, with audience and critics able to only speculate on their meanings. The Ontology of Theft is not only a reference to Giorgione’s works but also an homage to my Italian literature teacher, whose voice has been stolen, to one of her favourite Italian poets — Eugenio Montale — and to whoever you want it to be.