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The node is the point of disappearance of the form and its transformation in process


“We are nodes of a network of exchanges in which we share images, tools, information and knowledge."

Carlo Rovelli

Archetypes are ordering principles and training of images’ and playthe function of bridge between sensory perceptions and ideas”.

Wolfgang Pauli 


In the twentieth century the knowledge that time and space are not absolute but intimately bound together, the evidence of the limits of empiricism, the ideas on the completeness and consistency have had an impact not only on scientific thought but also in the evolution of overall culture.

The conception of the world that modern science has provided us, has irretrievably broken gaze eye on nature and technology has upset established behavior causing epochal changes.


Therefore the artists, the more careful to interpret the change of the time, they were forced to redefine their role, denying those habits imagination tamed by tradition and rethinking the space as a generator of particular forms of sociability and citizenship.

The pure look is the first act to determine a type of experience, but provides only an approximate representation, opaque and often misleading reality. Contrariwise is the overall look supported from all the knowledge, skills and doubt, that opens the way to the discovery of a multitude of alternative horizons that reason organized into patterns of thought, never ultimate, to make the invisible visible and master more effectively the existing.


Increasingly aware that the properties of things are less intrinsic to what is believed as a result of interactions, we are led to think no more the world in terms of things but of processes.

(The sweetness is not a property of the chemical bonds but is the result of a sensory experience: the sugar molecules interact chemically with the taste buds that communicate with a number of neurons)


The aesthetic research has gone beyond the sensory data, has abandoned the vision of the outside of things no longer worrying to inform but to communicate, no longer recognize but to know, we passed by the ambition to “shape” the will of “pooling”.

Often in the past, the purpose of art was to facilitate the relationship with a world, shaped by the hand of God, helping the viewer to "orient" in life enslaving to a structure of coexistence default. Then, with the advent of the modern era, has become priority to give meaning to reality through the communication that though not explicit and placed beyond the limits of conventional language, ensure dialogue and exchange.

In order to actually put the viewer in "direct relationship" with the dynamics of our time, I think it is necessary to refer to a "presentation" to the drama to power, voice and effectiveness to the images.

I believe that only in this way, the paintings can do to help improve the course of things, or develop the ability to invent ways of living more sustainable and fair, giving reason in the world to come.

This awareness led me to identify the node us invariant element that, in addition to determining possible but unlikely configurations, would bring an order in the disorder of inanimate forms. An intellectual trick that, fielding a particular protocol, however guarantor of communication, would make the message surprising and unexpected as to draw the viewer's attention, encouraging interest in the discussion and sharing.


The node is the sign that in union with "formulas of thought" - expressed in the titles, it becomes genetic blueprint of the imaginative process that wants to break into the existential sphere of the observer, carrying a symbolic function that does not refer, through allusions and metaphors, a figurative reality but is placed in a creative dimension to promote knowledge.

My goal is to "historicize" an artifact to turn it into a multiplier effect and meanings relying on the ambiguity of the node - geometric operator - linked to the precepts of my lived, apparently incongruous with the work but promoters of relentless and, sometimes, disturbing questions. Just so the imagination confronting an impossible, no longer perceived as inaccessible or entity obstacle but as a privileged place of discovery, can find unexpected "things" that take shape and substance in feelings, emotions, insights and in reflections.


I intend to build, through the contextualization of the work, a consequential of rational thought - articulated on an extended time - which comes as the elaboration of lived experience. I want to avoid, with conviction, to formulate a proposal for such self-referential because - as an orphan of the frame of reference, bound only to the emphasis of the instant, contracted and folded on the immediate present, restricted exclusively to the sphere of taste and, therefore, unthinking - I consider it sterile and silent, distant of indispensable competition of ideas, ideals, privileged growth factor.


The findings come from unexpected data that require new explanations