2004-2040

A 36 YEARS RECORDING OF LIFE

 

 

As part of this work Frigo illustrates the life of his ancestors prior the beginning of his project. The result is an epic executed scatteringly in the evening. The epic is partitioned in a total of 6 seasons with 3 episodes per season and 24 scenes per episode. The epic covers 4506 years of history. As Frigo is provided with more information of the more recent history, the latest period only covers 24 years, and earlier periods cover respectively 48, 96, 192, 384 and 768 years between each of the three dates intervals they represent.

Season 3 episode 1 of Frigo's origins

Epic partition:

Episode 1 Episode 2 Episode 3
Season 1 2532 B.C.–1764 B.C. 1764 B.C.– 996 B.C.  996 B.C.– 228 B.C.
Season 2  228 B.C.– 156 A.D.  156 A.D.- 540 A.D.  540 A.D.– 924 A.D.
Season 3  924 A.D.–1116 A.D. 1116 A.D.–1308 A.D. 1308 A.D.-1500 A.D.
Season 4 1500 A.D.–1596 A.D. 1596 A.D.–1692 A.D. 1692 A.D.–1788 A.D.
Season 5 1788 A.D.–1836 A.D. 1836 A.D.–1884 A.D. 1884 A.D.–1932 A.D.
Season 6 1932 A.D.–1956 A.D. 1956 A.D.–1980 A.D. 1980 A.D.–2004 A.D.

For each of the 18 resulting episodes, 24 illustrations are executed on an A4 170 g / m², acid free paper. A smaller panel is used to draw margins of 27 x 18 centimeters. To begin with, Frigo draws by hand the diagonals going from each upper corner to the opposite bottom corner. In this respect Frigo has a center and can align to these diagonals either characters or a landscape. Every drawing usually alternates a distant view from a close up view in which the entire character or characters are shown. The character are first draw by pencil and then retraced with 0.1 millimeter drawing pen. Later each drawing is colored using watercolour pencils and lastly a brush. At this point Frigo uses a scissor to cut out the contour.

Frigo was born in the Italian alps among the Cimbri, a Bavarian minority group. His mother's side of the family were landowners in Santa Rita do Passa Quatro in Brazil, but lost their properties while in Europe during World War I. During World War II Frigo's paternal grandfather was part of Operation Barbarossa in Russia and was one of the few survivors along with his cousin, the Italian neo-realist writer Mario Rigoni Stern. In 1943 Frigo's grandfather was interned in Buchenwald concentration camp in Germany while his great grandfather died in Tatura concentration camp in Australia.

From the age of two Frigo and his family lived in Montreal where his father became an alcoholic. Following his abuses, Frigo followed his mother back to Italy where she remarried to a surgeon. During this period, at age 16 Frigo began to draw and to write, and went on a year-long exchange in Fort Atkinson, Wisconsin. Back in Italy Frigo enrolled in the University of Architecture in Venice. Later he studied at Emily Carr University of Art and Design in Vancouver, where at the age of 20 he undertook a 9,000 mile road trip. After months of travel he reached Malpais, Costa Rica wearing a poncho filled with his journals. It was in trying to revise these journals that Frigo conceived the need for a digital system to document his dreams, thoughts and ideas without the need for post-editing. Since his American experience Frigo began moving from one media institution to another in order to develop his digital system. Living in an abandoned school in the Netherlands, he finally reached Sweden. On trying to get technical help at Chalmers University he grew frustrated with technology and began documenting his activities manually using an off-the-shelf camera.

The work resembles that of Naοve artists such as Henri Rousseau and can be seen as the storyboard of a film. It expresses the violent unsettledness experienced by Frigo's ancestors, a minority group who has taken shelter in the alps but were often the victims of wars. It also reflects the unsettledness experienced by Frigo in real life, having to move from one place to another avoiding social tensions and rising discrimination. While the last part of the drawings correspond to a history Frigo has inherited by his relatives, the older illustrations are part of his imagination linked to his experience of the world and his readings.