JAKUPSIL

Alberto Ballocca (b. 1993, Turin, Italy) works across painting and sculpture through a process rooted in instinct, accumulation, and deliberate surrender to the unknown. His pigments are sourced rather than purchased — volcanic rock dust, ochre extracted from ancient woodland soils outside Turin, industrial dye reclaimed from textile production, high-resistance mineral pigments used in antiquity restoration — bound with water, Arabic gum, or dilute acrylic in proportions governed by perception rather than formula. Material is not a vehicle but a threshold: Ballocca treats its behavior under gravity, humidity, and absorption as structural to the work's meaning, allowing images to surface organically rather than be imposed.

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His sculptures extend this logic through discarded and obsolete technological objects — salvaged circuit boards, redundant hardware, spent consumer electronics — approached not as commentary on digital excess but as archaeological material, selected for symbolic weight rather than former function. The understanding that what a civilization discards often contains the only genuine intuitions from which new form can grow sits at the core of this work. Drawing on the ancient Greek concept of Kairos — qualitative, charged time as opposed to administered clock time — Ballocca locates meaning in the interval between gesture and construction, between natural pigment and industrial residue, between the ancient and the technological. His practice finds in that suspension a space where something genuinely new becomes possible.