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Manifold cohesion


At a "closer look" all things have polyvalent meaning (nothing is unique, everything is complex) but our mind tends to escape the anxiety and fear of the unexpected, "perceiving" only those meanings that guarantee the predictability of behaviors.
We tend, in fact, to consider reality everything that does not surprise us, because that is what we expect.
Therefore, reality is not the truth, but the consequence of instinct and action of our mind. The true is just fantasy.
We feel "peaceful" only when we can see that what happens in the world is unique and predictable, therefore calculable.
Art, however, has never receded from discomfort, drama and complexity of reality, which are indeed the field of its investigation, often succeeding to turn the improbable into the probable, penetrating the reality, which is full of double faces, symbols and qualities that do not appear completely.
Art investigates with his gaze in all dimensions to open the specter of the imagination, creating an unexpected, emotional and intellectual awareness that we cannot completely rule but toward which we feel continually attracted.
The value of an image arises from the relationship between the artwork and the viewer who finds in himself, in his heart, in his culture and in his system of expectations, the sense of what is in front of him, stimulated by the artifices put in place by the artist. The responsibility for the interpretation belongs only to the user, as his aesthetic experience is neither predictable nor entirely preconcieved: the vision is a unique action and the observer himself "produces" the image he is looking at.
However, because the source of beauty lies more and more in the process of understanding something secret beyond the form, I consider essential a special attention of the artist to refine and strength a non-verbal communication with the viewer to cause fertile sparks of thought, in order to let evaporate the sense of vagueness that usually hovers in contemporary works of art.
It is for this reason that I address my research beyond the emphasizing of individual expressiveness so that the artifact becomes a "place" of participation and discussion, a kind of "body in motion", a container of hidden humanness.
The goal that I pose, is to find a form that organizes and interprets the disorder (the real), that is the limit that shakes us, anything that jams the well-oiled machine of reality. The reality, in fact, responds to a certain natural order (the sun will rise tomorrow),and needs no longer to be interpreted, stopped to make us questions, it is the veil that covers the unexpected and that one can not escape from.
The real, on the contrary, is rough, confuses our expectations, it is disruptive and represents the dramatic side of our existence.
All this said, knowing that to do paintings, even today, makes sense only if you also have the visionary ambition to counteract preconceived ideas, revealing new aspects of life, refusing models whose expressivity is been consumed, saturated and self-referring or, worse, rhetorical decorative practises, so that I can still support the "collective gaze".
To do so - by adopting a sort of rhetorical procedure reverse all'ékphrasis - I contaminate my paintings, confering them titles that appear incongruous and provocative but are referring to my "experience" to foster a use not only emotional, contemplative and confined within the narrow precincts of taste, allowing the viewers to reflect on what they see and letting them to have an experience.

I propose a special survey on a "symbolic object", the painting, so that the perception feels the urgency of a critical and lucid awareness that gives strength to imagination, in order to live our time and our space differently and to shake those drowsy minds who feed history of apathy and crisis of ideals.
When a title of a not symbolic work is appointed, it does not transforme it into a representation or imitation of reality, but determines an awareness that seeks an interpretation to find both what is apparently absent and an explanation, producing a cultural value.
A node is a simple gesture to illustrate a complex world that allows me, without showing any ability to imitate and any special skill, to let ideas springing from matter ideas, in order to hypothesize new opportunities for a more responsible coexistence, more balanced and more friendly and not only to draw an artificial way of seduction.
The node, although conceived as a medium of the title, in the economy of the painting, does not play a passive role but alters the linearity of the channeled message and allows a vision guided not only by formalistic elements, but also permeable to thought, enriched with significant cues tough unobservable, that bring into play a whole series of relationships, both intentional and accidental, recalling historical context and tradition.
In fact the node, owing to its enigmatic, but defined, nature, makes possible the miracle of the transfiguration of a "thing" in a work humanized, in a sort of fertile womb from which arise the desire to know oneself, to understand the reason for one’s existence, its beginning and its end, and how to relate with others: a method that focuses on conversing with oneself, in order to penetrate into reality and to navigate in the world.
Imagination - influenced in this manner - does not promote an illusion but an elaboration multiple, consisting of choices and exclusions, where feelings, emotions, intuitions, images, ideas and thoughts contribute simultaneously.
The node has also the task of configuring and sizing the space and give rhythm to the matter, stimulating an empathetic reaction in the observer, a motor action like an instinctive repetition of a creative process with stretches and compressions, like you can perceive breaths and vital impulses.
The node raises, also, the perception of an imminent and inevitable happening because of the dark energy that the knotted material seems to conceal and barely to contain: sometimes sense borns from lack, from what we cannot see but of which we feel the presence.
Finally, the node helps to structure a form that does not originate from the coordination of a set of distinct components harmoniously united but from a manifold cohesion of parts, that have lost their independence: that recalls the critical remarks and the limits of the contemporary human life, where the individual discomfort does not affect only the single person, but is a bitter, disturbing and unsustainable destiny of all humanity, destiny that urge often a change.