List of the parts that the archive system is composed of.  

 
In this paragraph the parts that constitute the ‘Superarchive’ are listed and described: the ‘Archives-Work’ and the ‘Mindsite’ (composed of the ‘Archivearchive’ and ‘Interpretation’).
 
SUPERARCHIVE
The ‘Superarchive’ is the whole archive, the one that contains all the others. It is an archival system in which the ‘Document-Document’ (certificate of the action connected to the artistic work), the ‘Document-Work’ (a document of a story that was created, generally in photographic or graphic panel form), the ‘Work-Document’* (work-trace, work-imprint and work-cataloguer which shows and records the existential passage of this earth substantially through a tracing of colours) and the ‘Interpretation’ of the work are all placed on the same level, defining in their entirety an organic complexity of things.
 
I would like to clarify that nothing described here is definitive. During the arc of my life, I allow myself the liberty of continuing to think about things and seeing if something can be transformed, added or eliminated.
 
ARCHIVES-WORK
This term indicates all those works that contain the very process of cataloguing or archiving as a creative act and which together go on to form a sort of unique living organism. I conceive some of these as being essential and inseparable from the entire nucleus of the archive, whereas something could be dismembered.
The system is mainly composed of the ‘Gestureplace’ but also of some other works.
To find all the works that are part of the ‘Archives-Work’ go to the ‘Archive-Works’ section and by searching under ‘Connections’, select the word ‘Superarchive’. It is possible to scrutinise them one by one by entering each individual profile. However, here it is possible to find as an attachment the complete list, updated in February 2022, taken from the private works archive.
 
·       ‘Gestureplace’
This is the space where the gesture is reiterated and where the substance generated within it is simultaneously archived.
It is formed by the tools and the painted surfaces: ‘Bowl’, the palette where the colour is formed; ‘Imprint Bowl’, the surface of the table where the ‘Bowl’ sits;  ‘Platform’, the floor where I make my circular route every day; ‘Sedimentary’, the archiver that is both the storeroom and imprint of the ‘Sedimentations’; ‘Sedimentations’, the paintings that contain the story of their creation; ‘Diary-theque’, the archiver of the diaries; ‘Diaries’, the painted surfaces that contain and make visible all the colours that have come from the ‘Bowl’; ‘Imprint Diary’, the wooden wall on which I paint the ‘Diaries’ one at a time; ‘Infinite Painting’, the painting that condenses all the colours that have emerged from the ‘Bowl’; ‘Headrest’, the tool that helps me to have the right posture while I see the colour forming in the ‘Bowl’.
In the archive folder in ‘Archive Computer’ is a file in which I continue to mull over the fate of this work. I have decided not to bring it here because I still want to keep the discourse private.
·       Other works
There are other works I consider connected to the archive and which I think should not be torn asunder from their unitarity. These are: ‘Sludge’, the object in which all the leftover substance from the paint is collected; ‘Shrunken Gestureplace’, the shrunken space in which I continue to look at myself and consider myself; ‘’Stand-In’, the double of the ‘Infinite Painting’ that allows me to continue the gesture even when I am out of the studio; ‘Postcard Collection’, the tool for thinking about painting; ‘Diary Collection’, the material for placing my individuality alongside that of others.
There is only one work that I think can be dismembered despite being part of the group of things that make up the archive: the ‘Dad’s Diaries Home’, the container where all my father’s diaries are collected and which I gave to my son, who can decide to do what he wants with them.
 
MINDSITE
The ‘Mindsite’ consists of two parts: the ‘Archivearchive’ and the ‘Interpretation’.
 
Putting the work as an objective thing and the analysis of the objective thing on the same level.
It is the space I created for myself to think about and visualise what my mind imagines, to insert my intimacy into the world, to search for an interlocutor and allow space for this interlocutor to interpret what they have before them.
 
1-     ARCHIVEARCHIVE
The ‘Archivearchive’ is what we usually call an archive, or rather the entire collection of digital and real material that creates the documentation of the work and my professional activity. It is the place that acts as the guarantor of the work and which defines its statute. It is an organism which produces documents maintaining the memory of it and which through the definition, organisation and connection of the material produced transforms the body of the work into a total vision. It is the principle through which one can affirm that paradoxically it is more important to keep the history of the work alive rather than the work itself.
It consists of the private and public digital archive, the computer archive and the physical archive.
 
·       ‘Private Digital Archive’
This part concerns everything I have put into the CMS (the private digital archive, command post, behind what can be visualised publicly on the site). Thanks to the web language, everything can be connected, something not possible in the rigidity of the arrangement of computer files, or in the physicality of documents on the shelves in my studio.
·       ‘Public Digital Archive’
Part of the private archive made public through the ‘An Archive of Time’ site.  
‘Computer Archive’
This is the completion of the web archive. It includes sales certificates, letters connected to an exhibition, invoices for works made, estimates for projects that didn’t go ahead, high-definition photos, etc.
·       ‘Physical Archive’
This part concerns all the publications where my work is included, some paper documents, a few objects and a handful of photos. Almost all the photos have been digitalised.
 
2-     INTERPRETATION
The ‘Interpretation’ contained in and made public by ‘An Archive of Time’ is composed of the ‘Self-Portrait’ and the ‘Portrait’. It concerns the reading and translation that is done of all the material produced by the ‘Archive Work’ and contained inside the ‘Archivearchive’.
·       ‘Self-Portrait’
It is the form of self-interpretation and self-representation that the artist has made of herself and her work.
·       ‘Portrait’
These are the various interpretations others have made of all this mass of stuff.
 
 
 
*To understand which works I mean when I say ‘Work-Document’ and ‘Document-Work’, in ‘Archive Works’ you can search for the two words in the ‘Connections’ field. However, not everything stays so schematic, sometimes things are more ambiguous and difficult to catalogue. For example, the ‘Hybrid Works Document’ is used for composite works, which on the one hand are touched by the artist’s hand and on the other are a sterile documentation.
 
 
 
 
 
(Text written in 2022)