Crisafulli’s light installation works in urban contexts and internal spaces follow the principles of the Theatre of the places project. Light is not intended by the artist as a means for ‘lighting up’, rather as imagination and actionrootedin the place, one which settles in the preexistences, and searches the essence and a transfigurative work in them. The light in this work seems to stem out of objects, architectures and landscapes. At the same time, it creates entirelynew situations starting from them. Between light and place, there is a field of tension, an exchange of properties and belongings. The light tends to become a ‘place’ and the place becomes ‘light’.
This approach displays the highly technological devices which operate though according to partially local reasons and laws. Videoprojections, for instance, do not concern images shot elsewhere, rather animations “generated” starting from the object-matrix they are projected on.
Crisafulli considers his installations as theatrical works, both because they include the time sphere (in terms of movements and sound) and because the sequence of changes has a dramaturgic like construction, and finally because they are works that convey the memory and the energy of the ‘actions’ which are at the basis of their concept and their execution. This last aspect concerns also technology, which is not taken as a simple tool, rather as a performative tool, able to say something substantial as to its time, in addition to the spirit of each single work. In this sense, these installations can be considered as an extension of the body and of the artistic and technical gesture of the author.
(Cf. Fabrizio Crisafulli, ‘Architetture mobili’, in L’architettura degli allestimenti, ed. by Giovanna Donini, Rome: Kappa, pp. 206-211).