"Matter tells space how to curve, space tells matter how to move."
John Wheeler - american physicist
The work of art is a multidimensional reality where coexist a formal and material, a social and cultural, and environmental dimension, all these aspects that although we can distinguish and treat individually, however, they may not be isolate nor be rendered non-communicating.
It is this fact that constitutes a work as a complex system. An organized system at the same time unitary and multiple, something more and at the same time something less than the sum of its parts. The whole and the parts interact constantly influencing each other. Something more because the union of the parties shows that quality without such a union could not exist. Something less, because sometimes the fragment shows a evocative and expressive power as to bias the oscillation of the perception, reversing the dependence of the part from the whole.
It is unthinkable to believe works, even the non-interactive as separate and distinct components by observer (how would something work exhibited in the dark?): the observer, in fact, is both producer consumer of content.
The observer, therefore, must have a strategy for orientation and deal with complexity, i.e. the uncertain and random, so cannot ignore any of the dimensions of the work because in this way he will not be able to use a method which favors its aspiration to understand more fully, which means to be part in his observation and in hits conception. The knowledge makes the use more "conscious", i.e. amplifies the amount of reading paths of the works and therefore increases the probability to "identify" their sense.
Some aspects of my works and the relationships between them.
To look for a form in order to organize and to take to mean the disorder, in the sense not as an abstract category but as an expression of the real, of the limit that shakes us, which jammed the well-oiled machine of reality. The reality responds to a natural order (the sun will rise tomorrow), it has no need of interpretation, it stopped questions to us, it is the veil that covers the unexpected and that from which you cannot escape. The real, instead, does disconcert our expectations; it is creepy and disruptive and it is also the dramatic side of life and the appearance of complexity.
The title is not a sterile caption but it is the engine that brings life in the work - not as instrumental, propaganda and leaflets terms - in order to give shape to the disembodied vision of mind so that it can be perceived by the eye of the body.
The contamination of the works (not symbolic) with inconsistent titles is designed to make use not only emotional and contemplative, confined within the narrow precincts of the taste, but the perception must feel the pressure of a critical and gloss consciousness that gives consistency to imagination to go beyond the limits and poverty of contemporary experience.
The language of the eye (emotion) infected by the words (cognition) favors an aesthetic experience, not linear, in which the work is not only self-referent but as a cultural object, also refers to the history and its contradictions, allowing subjectivity to get in harmony with the world.
It is no doubt that images speak to us in a different way from the words but the words may draw the attention of those who never thinks to "look".
The works are conceived on an intuitive idea of "machine", which is configured as a combination of thoughts and images, to create in the observer the idea that the culture of the approval - functional to the system - creates a feeling of insignificance and dissolves awareness.
This belief tends to dilute the incompleteness of the work, allowing it to have a purpose, namely to act as a stimulus to those dull and drowsy minds that fuel the story of apathy and crisis of ideals. Works that present themselves as an intellectual laboratory, where manual activities and exercise of thought are combined, in the belief that in this historical phase each artist is asked to do more than stimulate a market for fetishist collectors, i.e. he must feel the need to return a human value to the eye freeing from the craving of profit.
The use of the node, in my works, comes from the awareness of the complexity of the human condition. In fact the node by its nature, ambiguous and vague, effectively embodies the concept of complexity; this characteristic comes to it from being, in spite it is a objectual uniqueness, element that reflects, by means of transposition, the many different meanings that the word node takes. There is something more. The dynamics of the interaction of the observer with the work and its title (look and thought) establishes an arrangement of the perceptive oscillation around of the physical node that acquires the value of attractor. This confirms that the work is actually a dynamic system, therefore, not a passive mirror but a means to catalog and revisit the real. The node is also a sign that gives recognizability, is a way to organize the space, the movement, the dimensionality. The node reveals the vital principle that sprouting, in inert matter, a motion in time and space: node deforms the matter, force to deform the bodies takes time, time divided spaces and gives rhythm to the work.
There is an interconnection of temporal and spatial relationships within my works, or better, the space offering himself also alludes to the dimension of time.
The conquest of space is carried out with the detachment of matter from the support through the creation of jutting surfaces able to go beyond the two-dimension becoming architectural hypotheses.
Time is experienced through the structure of forms, a true paradox baroque; not a bizarre idea, in fact commonly in everyday use we make reference to the specific categories of space, as forward / backward, of time, as before / after.
The structure of the works, even in their static nature, gives an image of itself of the unfinished result, in training, in the making because apparently able to take on additional topological configurations through virtual manipulation of the surface. In fact, the viewing experience is able to provoke in viewer one kind of physical knowledge in addition to that "spiritual". The materic work, in addition to engage the mind, communicates also to the viewer an empathic reaction, a motor action as repetition instinctive of the creative process, made up of expansions and compressions, signs of breathing and of impulses that evoke the flow of life, every moment of which is a consequence of the past and an anticipation of the future.
The origin of the work is a destructured thing, with "clear vocation at the transformation," which comes made to evolve in an iterative manner using simple manipulations. The sequence of iterations finishes when the formed shape no longer offers suggestions for the his change in so far as the result achieved appears unexpected, elegant and complex.
The matter is used as a source of tension and compositional order. The choice, the combination and manipulation of heterogeneous materials give a new life course, open the perception to new possibilities. Then to investigate the matter does not mean discover a beauty but the soul of our time. An operation carried out with meticulous care to suggest a form without trauma, to pass from the chaos of the process to the idea of composition in order to rediscover the lordship of conscience. An aesthetic vision in which the form does not arise from the coordination of a set of separate parts and harmonically united but a union in which each part has lost its autonomy and uniqueness, landing in a manifold cohesion. An art that goes beyond the informal experience without sacrificing expressiveness and drama, claiming to be able to support the collective eye, and then create the necessary conditions to pull out the sense from the exploration of the physicality of the matter.