ORDER AND CHAOS
My current work focuses on a renewed eternal duality: order and chaos. The open work (by Umberto Eco) cleared the art from the conclusive and monolithic rigor of artistic interpretation, determined the overcoming of the “school” by the “avant-gardes” who succeed one after the other, making the museum almost in time the previous one is real and creating the paradox of contemporaneity that extends back to the beginning of the short century, the ‘900. Taste, because that’s what it is, has reached such a metamorphosis that in its extreme effects relegates Michelangelo to a cartoonist and Burri to genius…. damn! It rhymes a lot with “perversion”. In fact, there is no way out of the “order-chaos” dichotomy. In my current work, at first I act with the least intellectual and rational spontaneity possible, that is to say that I pour color on the support by mixing gestures between brush, spatula, spills of liquid color, water and reagents such as turpentine, alcohol, etc. All this is arranged without control over the canvas… a few touches here and there to direct the color in areas of better tonal impact. Since it is my work, I intervene on the chromatic key, that is, I do not put all the colors at random, but I decide one or two dominant ones. The slow drying process also plays its part. At this point the chaos is waiting there, just as the cosmic and terrifying chaos awaits the frightened man who tries with his models to put everything in order. Since everything is reduced to a painting, on a subjective scale, this return to order is much easier and, personally, I believe the figures are the most easily recognizable organic model, being the usual signs of communication. From chaos I derive human or animal figures that bring randomness back to a known order, they are naturally inclined to evoke feelings and emotions, such as dreams. The figures have chiaroscuro features that make them naturalistic, from seventeenth-century theatricality. Here the language slips to another level, triggering themes that can be reflected in facts of intimate interiority, such as love, hate, tenderness, attraction or projecting itself into social themes that strike me at that moment, spirituality, religion (like my interpretation of the Annunciation), or usury like the very current banks. Here comes the concept of continuity. It is only memory that marks life in an existential rhythm. The memory of the repeated succession of events generates our expectations of life and death; even if nothing is as before, even if “panta rei”, there is an undoubted continuity in the individual and collective consciousness. Thus art, always different and always the same, so beauty or aesthetics, even if historically declined, remains an innate drive like hunger and thirst, so history that seems to repeat itself in the human seasons from which we learn something to move forward and we deny it in conflicts and divisions. All this is posthumous to the writing of the work, what remains at the center for me is the visual language directly linked to its aesthetics. Of course the technique is mixed, systemic like contemporary society.