As if out of a lost Icarus dream or Leonardo da Vinci portfolio, Martin Caminiti interconnects with precision and atmospheric symmetry the detritus of our leisurely life. And though his machines don’t fly, they transport us immediately into this reality where it seems that Nature, guided by a harmless and empathetic dreamer, has finally decided to play men’s games.
He uses a technique of assembly in his work– taking parts from salvaged items and placing them side by side, constantly questioning our response to the phenomenon of juxtaposition in sculpture. It’s about material contiguity as well as semantic proximity, and it’s as much about closely-linked references as it is about the manner of making contact with an adjacent area or space.
He plays with words, creates lines from threads, and fishes for shapes rather than drawing them with a pencil. He draws using outlines taken from larger structures, in the same way as one might design the framework for a 3D object on a computer. He evokes shapes in the space using his technique of assembly or collage, with which he has formed his own language.