INGORGHI (TRAFFIC JAMS) – Raffaele Saccà  By


In 1977 James Taylor was as “parked” on the freeway on his way home, stuck in a traffic jam, thinking about his dinner that was waiting for him at home, getting cold; he was singing almost to repel those gazes in the rear-view mirrors of the others that were stuck with him.

Forty years later, shreds of conversations are bouncing back from the cars of Raffaele Saccà, a sense of inconvenience, being prisoners in those luxury cages, iron wrecks: signs of a mankind lost in the traffic chaos, being under the illusion that a container could make the difference. Men in a line waiting to move, to be freed from an unsettling and claustrophobic condition.

Cars, trucks from different eras and places; like toy-cars becoming art in a form of protest against that violence which is common to all of us, which cause that strong empathy.

Saccà’s expressive paradigm is built on a maze of traffic jams; his work is a symbols of the “homologation”, where colours are a standardising element, together with his obsessive patterns where roads, crossings and city circuits are sharply defined

To break that monochromatic and repetitive theme caged into a relentless loop, the Artist adds a disturbance element, it’s a car that stands out from the others, as trying to escape from those “Chaplin like” mechanisms.
The eye is captured by this detail, it’s a highlighted dissonance. That clashing note is a person stuck in traffic, the one who feels like the victim and not the executioner, but that in the real life is unconsciously both.

In the Artist’s visions the speed is stuck in a freeze-frame; as is our life at the mercy of the daily chaos, it jumps, jerks and chomps, bottled up lost in its’ own thoughts. This stillness finds a way out through new mental spaces where new readings and interpretations are possible, such as the compulsive impulse to possess, where a car is the most representative symbol.

Traffic compares to life, we have a chance to reflect, some time to invent an escape plan.
Nothing happens by chance: in rush hours everything is already planned and geometrically connected.

The material of choice is wood, those inserts, construct the landscape concept, seaside village or metropolis; they are barriers of containment, a line of trees along the roads which stops where an edge of a metal panel close up on the queuing cars.