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
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
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
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
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
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.