Richard Sympson

Richard Sympson
C o s i m o P i c h i e r r i M a r c o Tr i n c a C o l o n e l
IPA Sheet
In 2010 we adopted the IPA (International Phonetic Alphabet) as a writing register.
The choice comes from the possibilities phonetics offers to isolate and write signifier human sounds,
independently from any national-cultural writing system.
The first work is IPA Sheet: the tool-sculpture of the IPA chart. This work consists in the formalization of the
latest classification released by the International Phonetic Association in 2005.
Ipa Sheet, 2011
steel, aluminum
42cm x 29,7cm x 4cm
Manifesto, 2012
84cm x 59,4cm
Totem, 2012
dimensions variable
Spazio Formentini (Katja Noppes - Richard Sympson)
Ipa, 2012
Adhesive Paper Tape
500cm x 5cm
Detail Ipa
Abracadabra, 2012
willow powder
dimensions variable
Abracadabra, 2012
Muratcentoventidue Gallery
Abracadabra, 2012
Muratcentoventidue Gallery
Abracadabra, 2012
2 elements 35cm x 35cm
Detail of Study for a Map, 2011
The project, still in progress, is a world map where the countries will be written using the International
Phonetic Alphabet (IPA) according to the “exact” pronunciation of their own national language(s).
Study for a Map, 2011
paper, ink
140cm x 117cm
Famework, 2011
polystyrene, wood
60cm x 310cm x 150cm
Framework, 2011
polystyrene, wood
60cm x 310cm x 150cm
Richard Sympson Richard Sympson, 2011
cardboard, gold, silver
40cm x 50cm
Archive, 2010
cardboard, paper
53cmx 80cm x 16cm
Archive, inside view
Artist’s Book for the exhibition Beyond the Dust - Artists’ Documents Today
Public commission from the French ministry of Culture and Comunication – CNAP – Centre national des arts
photo Alberto Dedè
Archive, detail
Variations on a sign, 2009, Fabbrica del vapore in Milano
25min, video loop, audio
video installation, variable dimensions
Variations on a sign, 2010, SBKM De Vleeshal in Middelburg
aluminum, fabric, electric motor
310cm x 180cm x 180cm
Variations on a sign
The title Variations on a sign is meant to inform on what is taking place. The optical games of a chemist’s
signboard constitute variations on the theme of the cross sign. Each effect refers back to a number of
signifiers that belong to our culture and that are continuously transmitted by the optigal games.
Variations on a sign
chemist’s led signboard
variable dimensions
Study for a print (Variations on a sign)
Study for a print (Variations on a sign)
Study for a print (Variations on a sign)
The Inch by Inch process
We use the photographic camera as a sampler, a pure
agent of information. This to support the purpose not of
representing a place, but of making a survey of it.
Each image is the “collage” of a series of frontal shots taken
inch by inch, to obtain a single image made up of infinite
points of view.
The result of this process is presented on the exact scale,
the 1:1, related to the real dimensions of the subject.
The void at the center
The floral garland is chosen for its elapsed iconological
value of “topos”, common place. The garland is treated as
a pure sign which is able to conveying different rhetorical
figures, and we asked the florist Luca Lopopolo to objectify
Each image is realized with the Inch by Inch process.
The project is made of seven images; seven variations;
seven possible accesses to the concept garland.
The seven images are Garland of laurel, Garland of flowers,
Garland of tropical flowers, and Allegory of Four Seasons
according to Luca Lopopolo (Garland of flowers-autumn,
Garland of flowers-winter, Garland of flowers-spring,
Garland of flowers-summer).
Garland of laurel, 2011
Italian Istitute of Culture of Paris
Garland of laurel, 2011
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Garland of flowers, 2008
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Garland of tropical flowers, 2012
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Garland of flowers-autumn, 2008
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Garland of flowers-winter, 2008
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Garland of flowers-spring, 2009
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Garland of flowers-summer, 2009
photographic print, woodframe, plexiglass
195cm x 195cm x 10cm
Detail of Curtain
Curtain is the scan of the two sides of a modular curtain, made with the
Inch by Inch process.
We isolated the object using two different ways of representation,
superimposed on the same layer: a classical, central perspective for the
room behind the curtain, and the Inch by Inch scan for the curtain itself.
The two representations are related through the transparent tiles which
allow a continuous movement between the two registers.
Curtain, 2008 - 2012
photographic print, diasec
2 elements of 210cm x 91cm
Inch by Inch #3
Installation at SMAK, Gent, 2009
Inch by Inch series
This title (“Palmo a Palmo”, in Italian) comes directly from the
idiomatic expression, used also by mass media, to indicate
the minute modality of examination adopted by the forensics
during an investigation.
The subject of the Inch by Inch series are places where
traumatic events took place and which left a sign on the
most recent Italian emotional history, due to the media
The image tries to report what the places really are, regardless
of the media representations-interpretations.
Giving full attention to each element of the image is
metaphorically our attempt to pay attention to each individual
belonging to the emotional community.
The images of the series are “group photos” of spurious cross
communities that never existed before; communities created
by the event and that need to go to the site to make “public”
their involvement in the event.
Inch by Inch #3, 2009
slide show
variable dimensions
Inch by Inch #2, 2006
photographic print
180cm x 245cm
Inch by Inch #3, 2007
photographic print
281cm x 375cm
Detail of Inch by Inch #3
Detail of Inch by Inch #5
Inch by Inch #5, 2009
photographic print
245cm x 534cm
Room unfit for human habitation
We went to L’Aquila, some weeks after the 2009 earthquake.
The Inch by Inch process image is the scan of a room declared unfit for human habitation and that was ready
to be demolished.
Room unfit for human habitation, 2009
photographic print
157cm x 458cm
Detail of Room unfit for human habitation
Detail of Blood oozing
Blood oozing
In 1995 near Rome, a Madonna statue started crying blood.
At that time, in several part of Italy some religious statues started crying blood. This one only was recognised
as «true» by the Catholic Church.
Blood oozing is an Inch by Inch process image of one of these places where the Italian emotional community is
still going, leaving objects-fetishes.
The place changes its being from common to religious.
Blood oozing, 2007
photographic print
140cm x 330cm
The project Richard Sympson was created in 2006 by the collaboration of Cosimo Pichierri (1976) and
Marco Trinca Colonel (1980).
We investigate the common place, treating its physical and its linguistic aspects.
Our subjects are places/objects/word-sound, respected as such, but also treated as signs, as empty crates
that the observer can fill with meanings.
Richard Sympson Richard Sympson, Murat122 Gallery, curated by Anna Saba Didonato Bari (I) (solo)
Spazio Formentini, Milano (I) (solo with Katja Noppes);
Overture, Fondazione Museo Pino Pascali, Bari (I);
*Beyond the Dust, Fondation d’entreprise Ricard, curated by Francesca di Nardo and Lorenzo Benedetti, Paris (F);
Horizon(s), Istituto Italiano di Cultura di Parigi (F);
*Officine dell’Arte, VIaFarini, curated by Stefano Arienti, Milano (I);
Beyond the Dust, Fabbrica del Vapore, curated by Francesca di Nardo and Lorenzo Benedetti, Milano (I);
Beyond the Dust, SBKM De Vleeshal, curated by Francesca di Nardo and Lorenzo Benedetti, Middelburg (NL);
*12a Biennale di Architettura 2010, People meet in Architecture, Venezia (I);
*Pittoresk, MARTa, curatata da Thomas Niemeyer, Frank Maes and Steven Jacobs, Herford (D);
*Kaléidoscope d’Italie, Centre National de l’Audiovisuel, curated by Angela Madesani, Dudelange (L);
*Il cielo in una stanza, Galleria Comunale di Arte Contemporanea, curated by Andrea Bruciati, Monfalcone-GO (I);
*Beyond the Picturesque, SMAK(Stedelijk Museum of Contemporary Art) curated by Steven Jacobs and
Frank Maes, Gent (B);
*Terzo Paesaggio, MAGA (Art Museum of Gallarate), Gallarate-VA (I);
Biennial of Image of Chiasso, Spazio Officina, Chiasso (CH);
Same democracy, Galleria Neon/campobase, Bologna (I);
*Erediatare il paesaggio, Museum of Territorio, Biella (I);
*International Festival of Photography of Rome, Museum of Ara Pacis, Rome (I);
Racconto di un luogo, Museum of Contemporary Photography, Cinisello Balsamo, Milano (I);
Commande publique du CNAP – Centre National des Arts Plastiques, for the realizazion of an Artist’s Book, 2011;
Residence of Dena Foundation for Contemporary Art at the Centre International d’Accueil et d’Echanges
des Récollets of Parigi, with the support of the Comune di Milano, 2009;
Winner of National Award of Visual Art of Gallarate, 2009;
Winner of National Award Riccardo Pezza, 2007;
*with catalogue
Flash Art, n296 Anno XLIV, 2011, interview by Francesca Mila Nemni;
Flash Art, n290 Anno XLIV, 2011;
Exibart Magazine, n68, 2010, interview by Daniele Perra;
KLAT Magazine, n03, 2010, interview by Francesca di Nardo;
Laboratorio Italia, Johan&Levi, 2009, curated by Marinella Paderni;
Future Images, Motta Editore, 2009, curated by Mario Cresci;
Flash Art, n270 Anno XLI, 2008. Viaggio in Italia curated by Elena Bordignon;
Punti di Fuga, Bulzoni Editore, 2008, curated by Daniele Fragapane e Sergio Giusti;
Cronache dell’Abitare, Bruno Mondadori, 2007, curated by Stefano Boeri;
Public Collections
Centre National des Arts Plastiques, Paris (F);
UBI Banca, Bergamo (I);
MAGA, Gallarate (I);
GEMMO, Vicenza (I);
Dena Foundation for Contemporary Art, Paris (F);