MEMORIA TECHNICA (spring, summer, autumn, winter), analogue film exposures made at Sognsvann in Oslo, Norway 2015, scanned and digitally manipulated into a series of monolithic images. Artist-proof prints, 90,64 x 180 cm, sponsored by Epson Europe 2017 exposed at the Oslo Art and Fashion Festival, archival ink vellum prints, 63 x 197 cm (framed 75 x 209 cm), in Naples, Italy, 2025. The vellum prints were made for the way they will age over time. The translucence of the vellum will transform into a soft yellow, and the black ink into Terra di Siena, a reddish pigment evocative of terrain. Memoria Technica imagines the paradoxical concept of eternity. The monolithic mirrored landscapes perform as markers of chronoception — the brain’s subjective perception of time passing — while portraying the four seasons at a scale mirroring the human body. The artistic choices reference relationships between the earth, magnetic resonance imaging of human breathing, ancient long form scrolls, as a secular version of the Shroud of Turin.
The artworks are 1 of 1.
These monoliths are part of the Virtual Material body of work.
Contact for collection inquiries: mariammanart@icloud.com
È evidente la citazione alla Sacra Sindone (iconograficamente il tratto più evidente) la 4 stagioni sono un inno alla vita…Vivaldi docet, potrebbe essere, lo consiglierei come sottofondo soundtrack alla mostra. – Fiorenzo D’Avino
English: The reference to the Holy Shroud is evident (iconographically the most evident feature) the 4 seasons are a hymn to life. Vivaldi docet, it could be/I would recommend as a background soundtrack to the exhibition. – Fiorenzo D’Avino
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INSTALLATION WALK THROUGH IN ENGLISH
ITALIAN SUBTITLES
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