FEDERICO SARGENTONE Your sculptural objects are quasi-two-dimensional, as they are often formalized through the use of ultra-thin materials such as aluminum, steel and plastic. It’s almost as if they exist at the same time as objects, and as images of objects.
LITO KATTOU I’m fascinated by how three-dimensionality transforms into two-dimensionality and vice versa. It is how I capture my interest in the relationship between the digital and the physical world. For a shadow to exist, there has to be light—the Sun, fundamental to life and simultaneously our biggest enemy. I like to think of sculpture as a terminology describing forms of expression limitless to the term’s constitutional and primary understanding.
FS In your work, the refusal of anthropocentrism is key. Can you explain what drives you to question the binary between humans and other living organisms?
LK It has always been a matter of hierarchy, which I find crucial that we abolish and rearrange. Racialization of species is very much embedded in the way we think, although everything around us is changing. Since the ‘60s, post-structuralist philosophy has problematized “the death of man,” both literally and historically. This “death” could not be understood as extinction, but as a preface to a new beginning. I believe that when questioning the power of the body as an agent for change, we need to consider what kind of bodies we got used referring to. Will there ever be a neutral understanding of them? Who are eligible to have a “body” and under what image?