03 April 2017
Without ever leaving the most intimate motivations that allowed me to create works that I believe significant in long years of research, in the realization of the last two cycles, starting from 2014, I have to register several noteworthy changes.
In many works of these cycles i have changed playng technique, with frequent use of the glazes together with the oil painting, plus it has been a recovery of the gold paint that allowed me a significant reference to a lot of traditional European art of the medieval period. However, what it is a real novelty in my painting is a conscious recovery of the decorative aspects of handwritings like the Arabic ones in particular, but not only, which are distinguished by the beauty of the sign.
Languages to me unfortunately unknown, met by change in works of skilled calligraphers of past centuries or in modern vocabularies and assumed and practiced precisely only for the seduction of signs.
I attribute to those handwritings in my works the burden of making "lighter", with their charm, the conpositional architectures and the often dramatic themes that I usually face.
East and West compared in an attempt of union and recovery of what for centuries has been more amblematic in the aesthetic vision: the figure for the West, the seduction of the sogn for the East.
I believe that the need of this attempt of recovery, dictated from being a European artist in years of trasformations of which it is impossible to predict the autcomes, it is so congenial to me to the point of considering the cycle "Torn to the spread of nothing" ( but with attention also for the previous- "Sunday of the Sharman" - that somehow foreshadows future stylistic turns), perhaps the most important of my paintings over the years.
the title of the cycle plays on the ambiguity of the term "strappàti" (torn) which in italian depending on the stressing, can be read as a categorial imperative, a peremtory exhortation ( tear yourself up!) or as a reference to exhibits (past participle: "stràppati" - specifically in works) became purely testimonial objects.
Techniques, perspective, philosophy, everything falls apart and shatters, but assuming new meanings , new possible visions, ina strong bond however, with our tradition.
In this new and ancient adventure help me magical acquaintances, alchemical sylbolisms, but also insects and countless rats, along with constant reminders to the brevity of existence that occurs with the traditional symbols of the "vanitas" who frequently vosits me in a chaotic as much as peremptory way during the realization of my works.
Insects, rats, skulls, objects that allude to the magical passage of time, in my opinion only them can be our constant companions in the decadence that continues riding tumultuously.
It also fascinating me, ever since childhood, the idea of immeasurable power, unstoppable at the appearance which reveals itself suddently fragile, humanly vain. This concept is represented by the blimp that silently passes through my most recent works.
As I have written elsewhere, it finally came the time to leave that sort of Ego's hipertrophy which has been the interpretative figure of a supposed evolution which, in art, doesen't mean and never meant anhiting at oll.
It requires great courage to cross these "Pillars of Hercules" which that abandonment confronts us, but artists who do not want inevitably end up in really painful quicksand of an acadeny, moreover of the insignificant, will have to find that courage, which has now become essential to continue, without the risk of being the survivors, illusory modern, in the use of an artistic practice, that cloyng academy precisely, no longer vital, kept alive only by market strategies frankly unbearable.
It doesen't matter to be "significant" (just) for the times, this presupposes a link of the art to the existential actuality which is one of many deceptions of which art has undergone in the last eighty years. I am rather interested in an art that, in the time that comes, can testify my spirit and the ones of many who had to live obscure and really tough times, risking continuously of losing the path.
In many works of these cycles i have changed playng technique, with frequent use of the glazes together with the oil painting, plus it has been a recovery of the gold paint that allowed me a significant reference to a lot of traditional European art of the medieval period. However, what it is a real novelty in my painting is a conscious recovery of the decorative aspects of handwritings like the Arabic ones in particular, but not only, which are distinguished by the beauty of the sign.
Languages to me unfortunately unknown, met by change in works of skilled calligraphers of past centuries or in modern vocabularies and assumed and practiced precisely only for the seduction of signs.
I attribute to those handwritings in my works the burden of making "lighter", with their charm, the conpositional architectures and the often dramatic themes that I usually face.
East and West compared in an attempt of union and recovery of what for centuries has been more amblematic in the aesthetic vision: the figure for the West, the seduction of the sogn for the East.
I believe that the need of this attempt of recovery, dictated from being a European artist in years of trasformations of which it is impossible to predict the autcomes, it is so congenial to me to the point of considering the cycle "Torn to the spread of nothing" ( but with attention also for the previous- "Sunday of the Sharman" - that somehow foreshadows future stylistic turns), perhaps the most important of my paintings over the years.
the title of the cycle plays on the ambiguity of the term "strappàti" (torn) which in italian depending on the stressing, can be read as a categorial imperative, a peremtory exhortation ( tear yourself up!) or as a reference to exhibits (past participle: "stràppati" - specifically in works) became purely testimonial objects.
Techniques, perspective, philosophy, everything falls apart and shatters, but assuming new meanings , new possible visions, ina strong bond however, with our tradition.
In this new and ancient adventure help me magical acquaintances, alchemical sylbolisms, but also insects and countless rats, along with constant reminders to the brevity of existence that occurs with the traditional symbols of the "vanitas" who frequently vosits me in a chaotic as much as peremptory way during the realization of my works.
Insects, rats, skulls, objects that allude to the magical passage of time, in my opinion only them can be our constant companions in the decadence that continues riding tumultuously.
It also fascinating me, ever since childhood, the idea of immeasurable power, unstoppable at the appearance which reveals itself suddently fragile, humanly vain. This concept is represented by the blimp that silently passes through my most recent works.
As I have written elsewhere, it finally came the time to leave that sort of Ego's hipertrophy which has been the interpretative figure of a supposed evolution which, in art, doesen't mean and never meant anhiting at oll.
It requires great courage to cross these "Pillars of Hercules" which that abandonment confronts us, but artists who do not want inevitably end up in really painful quicksand of an acadeny, moreover of the insignificant, will have to find that courage, which has now become essential to continue, without the risk of being the survivors, illusory modern, in the use of an artistic practice, that cloyng academy precisely, no longer vital, kept alive only by market strategies frankly unbearable.
It doesen't matter to be "significant" (just) for the times, this presupposes a link of the art to the existential actuality which is one of many deceptions of which art has undergone in the last eighty years. I am rather interested in an art that, in the time that comes, can testify my spirit and the ones of many who had to live obscure and really tough times, risking continuously of losing the path.
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