STATEMENT copertina

 

 

A Cosmology of the Soul

My work is a suspended space where the visible world communicates with the unseen world. It is inspired by an interest in the Ineffability in terms of perception of light and represents a meditation on the beauty of Impermanence.
Creating my artwork I connect with my intimacy, where the Ego becomes parcelled.
I make art to achieve harmony within myself.
Investigating the concept of aesthetics of archetypical images, focusing on balance and formal rigorousness, I tend to create aniconic contemporary shapes.
My research is a permanent tribute to the timeless beauty of materials.

During my institutional profession I’ve studied many books of artistic technique, especially alchemic manuscripts.
While searching for the Quintessence the alchemist combines the duality of the matter itself. The Great Work of Alchemy represents a philosophical, theoretical and practical transformation.
It describes also a spiritual metaphor of a personal transmutation.
My works learn the beauty from the ancient masters and apply it to a contemporary view.

Using a traditional method, handed down by the artists of the Middle Ages and Italian Early Renaissance, my creative process includes several layers of organic glue mixed with Bologna gesso (called ‘Ammanitura’), multiple layers of Armenian bole (a coloured clay) and water gilding with genuine gold leaf.
That technique is according to the recipes of 'The Book of Art' of the Italian painter Cennino Cennini, a disciple of Giotto.
I'm often inspired by Eastern philosophy and shaped by Oriental sensibility.
In the Japanese world, the Kintsugi represents the art to repair an object with gold, highlighting and emphasizing imperfections, so understanding that a piece is more beautiful for having been broken.

I generally like to express myself through round shapes that represent in both Occidental and Oriental cultures (Uroburos, Ensō, Tao) a cosmic space, the symbol of the Universe and of the Absolute .
I also bridge tradition to contemporaneity.
In my hybrid works I blend graphite or mineral pigments with contemporary mediums or I employ synthetic enamel, to obtain icons monumental in size.
So the tradition meets the innovation of new materials to create contemporary expressions in a continuous artistic search.

My modular wooden sculptures generally allow so many different displacement in the space, in this way I like to establish a dynamic interaction with the viewer.

 

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CREDITS

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