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From artifact to artificer


“We are made of the same stardust of which things are made, it’s when we are immersed in pain and when we laugh and shines the joy, we don’t be that what we have to be: a part of our world”

Carlo Rovelli

The new frontiers of physics tell us that nature as a whole is not an aggregate of inert matter but is made of structures in continuous "movement" that exchange between their energy, information and matter. Moreover, it is difficult to support that there is a unique reality because it is the result of mental construction of one who looks intent to seek reliability for orientation and not be certain. And again, people interact constantly with each other and transform these reports into information. The information acts as a constraint and change our order "mental".

So the conceptual structure of our thoughts, through a complex and integrated process, reflects this whole collection and exchange of information that is continually re-processed, re-classified, albeit not always organically.

Just based on these assumptions, we must understand the artwork as a body that obeys the same "laws of nature", considering it so not a simple artifact to contemplate but rather an artificer, that is, in a sensitive system able to communicate. I then needed to "give the word to the matter" because seeing and hearing together put the viewer in a position to build an image that has significance and incisiveness which produces meaning and content, presenting engaging opportunity to read beyond the purely sensory data.

One way to achieve this is to increase the margins of ambiguity of the artwork, submitting it to the glare of the dynamics of values of contemporary, so that the increased complexity makes them feel the urgency and the desire for a must-interpretation and understanding.
A participatory approach to making contemporary, cognition and emotion, enables the user to become - in this way - fully protagonist, become an integral part of the process of making sense of the artwork, multiplying the "levels of the story" and at the same time allowing an enrichment of the experiential dimension.

n doing paintings I always place a target of the report, or else satisfy the sensitivity of the observer, keeping up his interest, avoiding the obvious and putting it in a position to transform the look in a special activity, unrepeatable elsewhere.
For this purpose I resorted to force seductress of matter to which I joined topical concepts - belonging to my experience, to assist the imagination in trying multiple interpretations of the art work and come to the conclusion (albeit illusory) to understand and, if necessary , appreciating the countless singularities hidden.