With my Interactions I intend to promote moments of reflection and dialogue on Art, to give back to man the Time of Language, with himself and with the world. The Artist is a vehicle, the Artwork is a vehicle, the User is a vehicle. Vehicles of Language. Whoever observes a artwork can expand the narrative built on it, can suggest new constructions of meaning to the Artist. I hide in my Artworks the mission of a reunion with one's own Time of experience, creating spaces of quiet and debate, for an appropriate time shared and full of meaning, sheltered from the modern undirectional disintegration of events. A time collectively spendable, real, sincere, livable for all. I promote dialogues with man and on man, glances that mutually feed on new interactions. I ask for testimony of this meeting-listening. The testimony of a direct dialogue between awakened consciences, capable of creating new attributions of meaning to precious moments in which to inscribe one's existence. YOU CAN LEARN MORE BY CLICKING ON THE INTERACTIONES LISTED BELOW! Thank you for dedicating your time to me.
ART FOR PEOPLE - PEOPLE FOR ART
ART FOR PEOPLE
PEOPLE FOR ART
Path - Research - Knowledge - When - Witness
Path - Research - Knowledge - When - Witness
I believe that the artist is burdened by an inescapable social role, with which they must coexist. To overlook this aspect is, quite frankly, absurd. This role is central to the very essence of art as a relationship. It remains integral and consistently apparent, even in those who, while identifying as artists, revolutionaries, avantgardists, or dissenters – or being categorized as such by others –consciously deny or renounce this responsibility. It is a misunderstanding to assert that the artist’s social role is the prerogative of the artist himself. Equally misguided is the belief that such recognition is derived solely from the observer. It is in the interaction between creator and audience that the overcoming occurs. My investigation holds meaning only when approached as a process of mutual influence between individuals. The investigation itself is communication between the artist and the broader world; consequently, the artistic product must return to the world, as it has been derived from it and has never truly separated from it. This mode of communication, in every aspect, between creator and user, necessitates a profound understanding of the tools and familiarity with the underlying principles from both the creator and the audience. It is not a straightforward exchange; rather, it is a circular process characterized by an ongoing cycle of interpretations and the construction of meaning, one that may never reach a definitive resolution. The user therefore plays a fundamental role in this dialogue, and his gaze is of primary importance to me today, a gaze that must be continually reactivated.In this context the perception of artistic experience cannot be confined to a singular piece; rather, it extends to encompass a collection of works. This perception is sustained through a prolonged and often arduous engagement, fostering a broader contemplation of multidirectional experiences. It necessitates an inner transformation that compels one to fully embrace the relationship with the λόγος (word or reason).
I believe that the testimony to such an ongoing inner modification is an essential requirement for art today.
It manifests as a demonstration of connection, active engagement, and the presence of a critical perspective — an essential catalyst for the resurgence of free and independent thought.
In this framework, the artwork serves not merely as an object to be observed but rather as the initiator of a journey.
Its receptivity is never passive or constrained.
It is the trigger of an exploration.
The world outside its relation to human activity is no world.
(John Dewey - Art as Experience, Minton, Balch & Company, New York, 1934 -- Ed. italiana: Arte come esperienza, La Nuova Italia / Aesthetica -- Our unofficial translation for citation purposes)
Art is a quality that permeates an experience; it is not the experience itself except by metaphor. Aesthetic experience is always more than aesthetic.
(John Dewey - Art as Experience, Minton, Balch & Company, New York, 1934 -- Ed. italiana: Arte come esperienza, La Nuova Italia / Aesthetica -- Our unofficial translation for citation purposes)
(John Dewey - Art as Experience, Minton, Balch & Company, New York, 1934 -- Ed. italiana: Arte come esperienza, La Nuova Italia / Aesthetica -- Our unofficial translation for citation purposes)
Art is a quality that permeates an experience; it is not the experience itself except by metaphor. Aesthetic experience is always more than aesthetic.
(John Dewey - Art as Experience, Minton, Balch & Company, New York, 1934 -- Ed. italiana: Arte come esperienza, La Nuova Italia / Aesthetica -- Our unofficial translation for citation purposes)
Path - Research - Knowledge - When - Witness
Path - Research - Knowledge - When - Witness
Research is the only truth.The truth of the Persistence.
When I get up from chair, after a long night spent observing the last painting, perhaps completed perhaps not, after having retraced with my eyes every twist impressed on the color, I have no other certainty that, shortly thereafter, I will be sitting on that chair again, in front of another canvas and that, after days spent studying every twist to impress on the color, the moment will come again in which I will try to fix another When in a new Shape.
I conceive my research as the foundation of my existence, stretching beyond the boundaries of the body like a breath upon the world. Obsession does not allow for respite; there is no pause, no rest. Personally, I cannot comprehend any artistic expression that is not supported by liters of spilled blood.
And blood always seeks Witnesses.
Where this does not occur, it is all too easy to trace mediocrity, indifference, sterility, monologue, manipulation, scandal, desecration, and above all, violence. Upon such pillars of sand, the incapable of art construct their cathedrals of Nothingness. They seek scandal, believing it to be the pathway to success. In the flattening of conscience, the void is filled with the illusion of Truth. Every voice becomes an absolute truth. I wonder whether there are more artists today or more truths. And I don't know which is worse.
I’ve never had any interest in the truth.
Truth is limited, fragile, perishable, transitory, provisional, on average sickly and dirty.
Neither comforting answers, nor reassuring dictates, nor enlightening advice will you ever hear from my brush!
I offer you no answer containing truth, but only infinite Questions, which multiply, which scream, twisting one on the other, as the color twists with each passage on the canvas.
Lorenzo Bernini - Verità svelata dal Tempo
1646-52 - Marmo - Roma
Galleria Borghese
Bartolomeo Guidobono - La Verità scoperta dal Tempo - prima del 1709 - Olio su Tela - Genova
Collezione Banca Carige
Only the Questions are eternal.
Stupidity comes from having an answer for everything. Wisdom comes from having a question for everything.
(Milan Kundera - quote attributed -- Our unofficial translation for citation purposes)
He who asks fearfully teaches one to refuse.
(Lucio Anneo Seneca - quote attributed -- Our unofficial translation for citation purposes)
The important thing is to never stop asking. Curiosity has its reason to exist. One cannot help but be amazed when one contemplates the mysteries of eternity, of life, of the marvelous structure of reality. It is enough if one tries to understand just a little of this mystery every day. Never lose a sacred curiosity.
(Albert Einstein - Interview with William Miller, 1955, often reported in The World As I See It, 1934 - attributed to writings and interviews, years ’30–’50 -- Our unofficial translation for citation purposes)
It is better to know some of the questions than all the answers .
(James Grover Thurber, The Beast in Me and Other Animals, 1948 -- Our unofficial translation for citation purposes)
Live the questions now. Perhaps then, some day far in the future, you will gradually begin, without even realizing it, to live in your own way in the answer.
(Rainer Maria Rilke - Briefe an einen jungen Dichter 1903–1908 - Lettere a un giovane poeta, 1903–1908 -- Our unofficial translation for citation purposes)
The simplest questions are the most profound, Where were you born? Where is your home? Where are you going? What are you doing? Think about these things from time to time, and watch your answers change.
(Richard Bach - Illusions: The Adventures of a Reluctant Messiah, 1977 -- Our unofficial translation for citation purposes)
The absurd arises from the confrontation between the question of man and the unreasonable silence of the world.
(Albert Camus - Le Mythe de Sisyphe, Gallimard, 1942 - Il mito di Sisifo, 1942 -- Our unofficial translation for citation purposes)
(Milan Kundera - quote attributed -- Our unofficial translation for citation purposes)
He who asks fearfully teaches one to refuse.
(Lucio Anneo Seneca - quote attributed -- Our unofficial translation for citation purposes)
The important thing is to never stop asking. Curiosity has its reason to exist. One cannot help but be amazed when one contemplates the mysteries of eternity, of life, of the marvelous structure of reality. It is enough if one tries to understand just a little of this mystery every day. Never lose a sacred curiosity.
(Albert Einstein - Interview with William Miller, 1955, often reported in The World As I See It, 1934 - attributed to writings and interviews, years ’30–’50 -- Our unofficial translation for citation purposes)
It is better to know some of the questions than all the answers .
(James Grover Thurber, The Beast in Me and Other Animals, 1948 -- Our unofficial translation for citation purposes)
Live the questions now. Perhaps then, some day far in the future, you will gradually begin, without even realizing it, to live in your own way in the answer.
(Rainer Maria Rilke - Briefe an einen jungen Dichter 1903–1908 - Lettere a un giovane poeta, 1903–1908 -- Our unofficial translation for citation purposes)
The simplest questions are the most profound, Where were you born? Where is your home? Where are you going? What are you doing? Think about these things from time to time, and watch your answers change.
(Richard Bach - Illusions: The Adventures of a Reluctant Messiah, 1977 -- Our unofficial translation for citation purposes)
The absurd arises from the confrontation between the question of man and the unreasonable silence of the world.
(Albert Camus - Le Mythe de Sisyphe, Gallimard, 1942 - Il mito di Sisifo, 1942 -- Our unofficial translation for citation purposes)
Path - Research - Knowledge - When - Witness
Path - Research - Knowledge - When - Witness
The Artist is a careful investigator who possesses refined tools, acquired with Courage and Knowledge.The Artist is a Witness who needs other Witnesses.
Art is a matter of awareness.
There is only one good, knowledge, and one evil, ignorance.
(Socrate - attribuito a Socrate, in Platone, Apologia -- Our unofficial translation for citation purposes)
(Socrate - attribuito a Socrate, in Platone, Apologia -- Our unofficial translation for citation purposes)
Louis Simon Boizot - Libertà armata con lo scettro della ragione che fulmina Ignoranza e Fanatismo - 1793 - Engraving - Paris, Musee de la Ville de Paris, Musee Carnavalet
Throughout history, few words have been as repeatedly violated as the word Artist, to the point of committing the worst of outrages: the total dissolution of all content, the cancellation of meaning.
In our society, everyone is an Artist; we live in a wonderful world where the incredible number of living Artists have fought for (and/or against) every ideal, moral, injustice, inequality, and value, yet they also remain indifferent, fighting equally, perhaps even better, than those who openly take sides. Artists have interpreted every nuance of every society in every place and time, today more than ever. If something still escapes our grasp, do not worry; it won't be for long. Art has returned, or perhaps finally arrived, at the center of the modern socio-cultural debate. Thanks to all the Artists, we can now appreciate the great universal values, rediscover our humanity, and develop a collective conscience along with a deep historical memory. All the rules have been written, then reworked, broken, humiliated, violated, and trampled upon; but above all, they have been broken. This is certain, because a true Artist must break all the rules—always. Before doing so, however, it is crucial to completely ignore these rules, so they can be transcended more effectively and swiftly. All the Artists who know perfectly well that they are Artists, but who are not yet recognized as such by public opinion, have nothing to fear. Success is just around the corner; it is not difficult—simply follow the Young Artist's Manual.
In our society, everyone is an Artist; we live in a wonderful world where the incredible number of living Artists have fought for (and/or against) every ideal, moral, injustice, inequality, and value, yet they also remain indifferent, fighting equally, perhaps even better, than those who openly take sides. Artists have interpreted every nuance of every society in every place and time, today more than ever. If something still escapes our grasp, do not worry; it won't be for long. Art has returned, or perhaps finally arrived, at the center of the modern socio-cultural debate. Thanks to all the Artists, we can now appreciate the great universal values, rediscover our humanity, and develop a collective conscience along with a deep historical memory. All the rules have been written, then reworked, broken, humiliated, violated, and trampled upon; but above all, they have been broken. This is certain, because a true Artist must break all the rules—always. Before doing so, however, it is crucial to completely ignore these rules, so they can be transcended more effectively and swiftly. All the Artists who know perfectly well that they are Artists, but who are not yet recognized as such by public opinion, have nothing to fear. Success is just around the corner; it is not difficult—simply follow the Young Artist's Manual.
All you need in this life is ignorance and confidence, then success is assured.
(Mark Twain - quote attributed -- Our unofficial translation for citation purposes)
(Mark Twain - quote attributed -- Our unofficial translation for citation purposes)
I therefore recommend starting by violating every principle, rule, law, regulation and precept. But be careful, first you should make sure you completely ignore any reference to such dictates. If you have books at home on the subjects you are attacking, burn them immediately, just seeing them will hinder your path. Then continue by telling everyone to go fuck themselves, even those who think like you, so as to eliminate any potential allies, to increase the aura of nonconformism that every good artist must possess. You can continue by declaring that the culture of the past sucks, all of it, regardless, that studying it is useless, indeed, it is better to spit on it, otherwise you will never be able to bring about a real revolution. It is better then to dedicate yourself, for a certain period, to the use of all existing drugs, and maybe even invent some new ones, which hopefully will lead to an early death, so the artist will turn out more misunderstood, and it can be said that it was not the drugs that killed him, but in reality it was the bad world. If before dying of an overdose you can make some extreme gesture, even better because, to make real art, he most important thing is to quickly cause a scandal, so everyone will talk about you and your works will go up in price. The artist must also disfigure or mutilate himself, and maybe he can do it while setting fire to some museum.Then, everyone sitting around the big table of ignorance, the theater of the ridiculous can continue with a deep discussion on the existence or not of art, because maybe art no longer exists, or has never existed, or maybe only Artists exist, who however no longer need to explain anything, and maybe not even to create any artwork. So art does not need art.
Perfect! Here all the Artists, who perhaps exist or perhaps not, can wake up pleased, in celebration, because in the end, to be Artists nothing is needed anymore! Nothing to say, nothing to explain, nothing to do, nothing to investigate.
The counts are correct.
Everyone is an Artist.
Perfect! Here all the Artists, who perhaps exist or perhaps not, can wake up pleased, in celebration, because in the end, to be Artists nothing is needed anymore! Nothing to say, nothing to explain, nothing to do, nothing to investigate.
The counts are correct.
Everyone is an Artist.
Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity.
(Martin Luther King - quote attributed -- Our unofficial translation for citation purposes)
(Martin Luther King - quote attributed -- Our unofficial translation for citation purposes)
Scultura di Sarasvatī, o Saraswatī, in sanscrito सरस्वती, è la prima delle tre grandi Dee dell'Induismo, insieme a Lakṣmī e Pārvatī, Dea della Conoscenza e delle Arti.
Apollo del Belvedere - Copia romana di età ellenistica 350 a.C. - Musei Vaticani
Dio della Conoscenza, della musica, della poesia e della luce
But Art is a Language and, like all languages, possesses grammar, phonology, morphology, lexicon, syntax, semantics, intonation, pragmatics, recursion, discreteness, arbitrariness, ambiguity, plurality, and much more.
Here is the watershed that no one talks about: Language.
Language repudiates the Nothingness.
Language requires practice, perseverance, continuity, exercise, work.
Whoever learns the dictates of language communicates, receives, transmits, perhaps creates masterpieces.
The others prefer the more comfortable paths of violence and scandal, the death of dialogue par excellence, and in their misery they remain convinced that they are transmitting some message.
These others are the idiots of transgression and excesses for their own sake, of violating the rules just for the sake of it, of denying the culture they have never known, because their conscience is nothing, their soul is empty, their dialogue with the world is sterile. The idiots of the slaughtered animals and the blood splatters raised to works of art, brought to museums by other ignorant idiots, and praised by armies of unthinking slaves, deprived of any critical conscience and historical knowledge. Ignorance has allowed violence and scandal to penetrate everyday life, imposing itself as a false language of primary relationship. The great themes have been swept away by ridiculous questions vomited on kilometers of ink. Does Art exist? Does the Artist exist? Do I exist? Does Art still have something to say? Do Artists need to talk about their art? But stop it, clowns! Having nothing to say is a personal cultural problem, and certainly not belonging to Art as such. The correct question, in the era of culture replaced by sterile, one-way information, is: What happened to Language? How can I bring it back to the World? How can my actions renew its essence? How can I contextualize a conscious critical language against the misery of daily violence everywhere? Questions that not only artists should ask themselves.
Ernesto de Martino, aware of the modern existential void, spoke of critical presence as a figure of our possibility. The violence of the present is the unawareness of the past as a dimension that generated us as άνϑρωπος and ἔθνος. The importance of λόγος (word – thought) becomes total. Reflecting on one’s own language means understanding one’s own historical derivation, experimenting with new forms of language means building new possibilities for rebirth, for an Art of the being-there critically in the world, free from the limits of violence and the flattening of ignorance.
Art as language repudiates by definition indifference and violence.
Art must bring the centrality of Language back to the world.
Artistic language today has the wonderful mission of creating windows of communicative reflection.
The artist is a vehicle, the artwork is a vehicle, the user is a vehicle. Vehicles of Language.
Art, like dialogue, is a genetic need.
Here is the watershed that no one talks about: Language.
Language repudiates the Nothingness.
Language requires practice, perseverance, continuity, exercise, work.
Whoever learns the dictates of language communicates, receives, transmits, perhaps creates masterpieces.
The others prefer the more comfortable paths of violence and scandal, the death of dialogue par excellence, and in their misery they remain convinced that they are transmitting some message.
These others are the idiots of transgression and excesses for their own sake, of violating the rules just for the sake of it, of denying the culture they have never known, because their conscience is nothing, their soul is empty, their dialogue with the world is sterile. The idiots of the slaughtered animals and the blood splatters raised to works of art, brought to museums by other ignorant idiots, and praised by armies of unthinking slaves, deprived of any critical conscience and historical knowledge. Ignorance has allowed violence and scandal to penetrate everyday life, imposing itself as a false language of primary relationship. The great themes have been swept away by ridiculous questions vomited on kilometers of ink. Does Art exist? Does the Artist exist? Do I exist? Does Art still have something to say? Do Artists need to talk about their art? But stop it, clowns! Having nothing to say is a personal cultural problem, and certainly not belonging to Art as such. The correct question, in the era of culture replaced by sterile, one-way information, is: What happened to Language? How can I bring it back to the World? How can my actions renew its essence? How can I contextualize a conscious critical language against the misery of daily violence everywhere? Questions that not only artists should ask themselves.
Ernesto de Martino, aware of the modern existential void, spoke of critical presence as a figure of our possibility. The violence of the present is the unawareness of the past as a dimension that generated us as άνϑρωπος and ἔθνος. The importance of λόγος (word – thought) becomes total. Reflecting on one’s own language means understanding one’s own historical derivation, experimenting with new forms of language means building new possibilities for rebirth, for an Art of the being-there critically in the world, free from the limits of violence and the flattening of ignorance.
Art as language repudiates by definition indifference and violence.
Art must bring the centrality of Language back to the world.
Artistic language today has the wonderful mission of creating windows of communicative reflection.
The artist is a vehicle, the artwork is a vehicle, the user is a vehicle. Vehicles of Language.
Art, like dialogue, is a genetic need.
Violence may have cleared the road of obstacles quickly, but it has never been creative.
(Albert Einstein - pacifist writings, years ’30 -- Our unofficial translation for citation purposes)
Art must suppress violence… it must make the feelings of brotherhood and love for one's neighbor, today accessible only to the best men in society, become habitual, instinctive feelings in everyone…
(Lev Tolstoj - What is Art? 1897 - Che cos’è l’arte? 1897 -- Our unofficial translation for citation purposes)
What frightens me is not the violence of the bad; it is the indifference of the good.
(Martin Luther King - quote attributed -- Our unofficial translation for citation purposes)
And what does a civilized way of behaving basically consist of? It consists in reducing violence. This is the main function of civilization and this is the purpose of our attempts to improve the level of civilization of our societies.
(Karl Popper - The Open Society and Its Enemies, 1945 - La società aperta e i suoi nemici, 1945 -- Our unofficial translation for citation purposes)
Indifference and violence are the two matrices of social disintegration because they feed selfishness, killing the value of solidarity in human society. They lead man to forget that first of all he is a social animal.
(Kossi Komla-Ebri - attributed quotation, public speeches and writings, quote for commentary purposes -- Our unofficial translation for citation purposes)
To think that discrimination and violence occur in a completely random way is absolutely unfounded, if not downright ridiculous. There are cultural, social and economic contexts in which violence and discrimination take root. And from this point of view the role of political forces and institutions is decisive.
(Federico Gianassi - attributed quotation, public statement on social policies, quote for commentary purposes -- Our unofficial translation for citation purposes)
(Albert Einstein - pacifist writings, years ’30 -- Our unofficial translation for citation purposes)
Art must suppress violence… it must make the feelings of brotherhood and love for one's neighbor, today accessible only to the best men in society, become habitual, instinctive feelings in everyone…
(Lev Tolstoj - What is Art? 1897 - Che cos’è l’arte? 1897 -- Our unofficial translation for citation purposes)
What frightens me is not the violence of the bad; it is the indifference of the good.
(Martin Luther King - quote attributed -- Our unofficial translation for citation purposes)
And what does a civilized way of behaving basically consist of? It consists in reducing violence. This is the main function of civilization and this is the purpose of our attempts to improve the level of civilization of our societies.
(Karl Popper - The Open Society and Its Enemies, 1945 - La società aperta e i suoi nemici, 1945 -- Our unofficial translation for citation purposes)
Indifference and violence are the two matrices of social disintegration because they feed selfishness, killing the value of solidarity in human society. They lead man to forget that first of all he is a social animal.
(Kossi Komla-Ebri - attributed quotation, public speeches and writings, quote for commentary purposes -- Our unofficial translation for citation purposes)
To think that discrimination and violence occur in a completely random way is absolutely unfounded, if not downright ridiculous. There are cultural, social and economic contexts in which violence and discrimination take root. And from this point of view the role of political forces and institutions is decisive.
(Federico Gianassi - attributed quotation, public statement on social policies, quote for commentary purposes -- Our unofficial translation for citation purposes)
A public that has nothing to ask for, allows the existence of artists who have nothing to say!
The problem is always cultural
The use, mastery and overcoming of any rule whatsoever, always transmutes from a profound knowledge.
No randomness, no coincidence, no luck. Art repudiates ignorance.
Art is conscious action.
Get this straight into your heads!
The problem is always cultural
The use, mastery and overcoming of any rule whatsoever, always transmutes from a profound knowledge.
No randomness, no coincidence, no luck. Art repudiates ignorance.
Art is conscious action.
Get this straight into your heads!
The greatness of man does not consist in being happy, but in being aware.
(Georges Minois - Histoire du bonheur en Occident, 1983 -- Our unofficial translation for citation purposes)
There is no value greater than awareness: this is the seed of the divine in you.
(Osho - quote attributed -- Our unofficial translation for citation purposes)
Freedom comes from awareness, awareness comes from knowledge, knowledge comes (also) from information, from study and from reading without prejudice.
(Stefano Nasetti - Il lato oscuro della luna -- Our unofficial translation for citation purposes)
Awareness is the path to the deathless, the lack of awareness is the path to death. Those who are aware do not die, those who are not are as if they were already dead.
(Buddha - Dhammapada, versetto 21 - Dhammapada, v. 21 -- Our unofficial translation for citation purposes)
Awareness implies an extraordinary sensitivity, in which thought stops making affirmations and discovers its limits.
(Jiddu Krishnamurti - Source disseminated in conferences years ’60, public speeches -- Our unofficial translation for citation purposes)
(Georges Minois - Histoire du bonheur en Occident, 1983 -- Our unofficial translation for citation purposes)
There is no value greater than awareness: this is the seed of the divine in you.
(Osho - quote attributed -- Our unofficial translation for citation purposes)
Freedom comes from awareness, awareness comes from knowledge, knowledge comes (also) from information, from study and from reading without prejudice.
(Stefano Nasetti - Il lato oscuro della luna -- Our unofficial translation for citation purposes)
Awareness is the path to the deathless, the lack of awareness is the path to death. Those who are aware do not die, those who are not are as if they were already dead.
(Buddha - Dhammapada, versetto 21 - Dhammapada, v. 21 -- Our unofficial translation for citation purposes)
Awareness implies an extraordinary sensitivity, in which thought stops making affirmations and discovers its limits.
(Jiddu Krishnamurti - Source disseminated in conferences years ’60, public speeches -- Our unofficial translation for citation purposes)
Path - Research - Knowledge - When - Witness
Path - Research - Knowledge - When - Witness
My soul often transfigures into a sort of temporal defragmentation, a frequent sensation of discontinuity, an intermittence with the lived of events-world. What is the Form that imposes itself for these shreds of life scattered without continuity? How to intercept their essence and represent them? How to bend the chosen medium and the technique used for an appropriate extraction of meaning? What is the perimeter that identifies a vision, different from the previous and the next? What is nestled between the two to establish a continuity, right there, where infinite distances seem to emerge from nothing? These, and many other questions, on which I attempt a daily reflection, are no longer able to sustain the totality of my investigation, now burdened by a growing drive towards the potential recipient of such interpretations.The growing need to assimilate new points of view initially manifested itself during my exhibitions where, more and more frequently, I approached people in an attempt to establish a dialogue aimed at capturing new food for thought. An attempt that was unfortunately very clumsy, limited by circumstances that were not very inclined to a profound reworking of the contents. But the path seemed right to me, to seek the restitution of a transmitted thought, which comes back after being reworked by others, therefore potentially capable of conveying new contents and activating further mechanisms of investigation in me.
Today, artistic language has the wonderful mission of carving out temporal windows of quiet and communicative reflection, with oneself and with the world. The artist is a vehicle, the work is a vehicle, the user is a vehicle. Vehicles of Language.
The Time and the Direction that I see for this Language, generate new hopes in me.
We must talk about the Time of Language .
We must become creators of Time and of Language.
ALLEGORIA DEL TEMPO
Agostino Pussè, Allegoria del Tempo, 1609 circa, Dipinto - Caserta, Palazzo al Boschetto
Soprintendenza Archeologia, belle arti e paesaggio per le province di Caserta e Benevento
Il Tempo (Saturno-Kronos) sorregge nella mano sinistra una clessidra e nella destra un piccolo serpente attorcigliato in circolo; in alto sono i carri della Luna e del Sole, in basso, le rovine di edifici e statue. Kronos è rappresentato nelle sembianze di un uomo canuto, con grandi e corpose ali (secondo il detto "Volat irreparabile tempus"), che sovrasta cumuli di macerie. La storia del mondo è ordinabile e comprensibile solo se le si conferisce una precisa consequenzialità temporale; tuttavia negli eventi umani lo scorrere del tempo, attraverso il ciclico alternarsi di inizio e fine (la clessidra), è visto come portatore di decadenza e strumento per il raggiungimento della saggezza. Dunque, all'azione distruttrice del tempo (le rovine architettoniche) è correlata la sua perenne ciclicità (il serpente piegato in circolo) mediante il susseguirsi della notte e del giorno (la biga di Selene che precede la quadriga solare di Elio), che scandisce e regola la vita umana sulla dualità tra la nascita-vita (acqua) e la morte (macerie). - - > Vedi la scheda al Catalogo dei Beni Culturali
It's incredible to see how reflecting on the Form of Time increasingly pushes me to rethink myself. Everything flows in small snaps, extremely close, but not arranged in continuity. We proceed in leaps. It is an existence compressed in the moment of the occurrence, therefore not very fast, but literally instantaneous. Time appears to me as a single, mutating instant, rather than composed of infinite, successive moments. With my paintings I try to capture every possible configuration of this single instant. I don't care about totality, I care about resisting. I no longer linger on the single painting but, as soon as it is finished, I arrange it in sequence with the others.
And my soul calms down.
These are not just any configurations, but those of my catharsis, of my time of awakening, those of my Kairos, donated to the community to be recognized and witnessed, so that it can act as a trigger for other awakenings, so that it can be reworked infinitely many times.
I feel like I exist only in these moments, in the Whens that the gaze reassembles, in the memory that reunites the processes.
Returns the Shape of Time.
The tour starts again from myself.
And my soul calms down.
These are not just any configurations, but those of my catharsis, of my time of awakening, those of my Kairos, donated to the community to be recognized and witnessed, so that it can act as a trigger for other awakenings, so that it can be reworked infinitely many times.
I feel like I exist only in these moments, in the Whens that the gaze reassembles, in the memory that reunites the processes.
Returns the Shape of Time.
The tour starts again from myself.
Ricomposizione del flusso temporale
Like frames of a film, those small fragments recompose the awareness of a story, the narration of a newfound balance, to bring me back to the world in a cycle that finds fulfillment only in the continuous growth of the whole. The Works ask for more Works. It is the way in which the time of my soul becomes collective time, emerging from chronological time (Χρόνος - Chrónos) because it is innervated with meanings that distinguish it, making it unique and unrepeatable. It is the time of my opportunity, of my critical presence, of my being there as a leading actor of becoming, extracted and delivered to the world for infinite reworkings. It is my wonderful Kαιρός (Kairós).
I look at my works individually and see small episodes of a way that was, lost in the adirectional disintegration of events, breadcrumbs left to mark the hope of a return. Then I think of them all together, from the first to the last, I try to visualize them, I place them side by side in different sequences, and I see the plot of a historical sense recomposed, of a continuation recomposed in the balance of the process, of experience. I see communication again, I see Language again.
In the same way I perceive the world, atomized, decomposed, shattered, and very much in need of being recomposed in the quiet of a sincere time, in the silence of reflection, in the completion of one's own path, in the creation of spaces of rest and dialogue accessible to all.
With my Works I capture these fragments of the world, and I hide in them the mission of a reunion with one's own time of the experience. A collectively shareable, real, credible and livable time. Today, artistic language has the wonderful mission of creating temporal windows of quiet and communicative reflection, with oneself and with the world.
This is the purpose with which I spread my Interactions, dialogues with man and on man, glances that feed each other of a positive time.
I believe in artistic research as a mission, in a life spent for art only if it permeates the world, I believe that all those capable of recognizing the monster of alienating acceleration, of the contraction of intermediate times, of the massing of instantaneous events and of the increase in productivity as an end in itself, have the obligation to bring back to humanity spaces of waiting, pause, rest, listening, deepening. And the obligation to stimulate man to use them.
We must become creators of a Time that remains.
And this rediscovered time needs Testimony.
In the same way I perceive the world, atomized, decomposed, shattered, and very much in need of being recomposed in the quiet of a sincere time, in the silence of reflection, in the completion of one's own path, in the creation of spaces of rest and dialogue accessible to all.
With my Works I capture these fragments of the world, and I hide in them the mission of a reunion with one's own time of the experience. A collectively shareable, real, credible and livable time. Today, artistic language has the wonderful mission of creating temporal windows of quiet and communicative reflection, with oneself and with the world.
This is the purpose with which I spread my Interactions, dialogues with man and on man, glances that feed each other of a positive time.
I believe in artistic research as a mission, in a life spent for art only if it permeates the world, I believe that all those capable of recognizing the monster of alienating acceleration, of the contraction of intermediate times, of the massing of instantaneous events and of the increase in productivity as an end in itself, have the obligation to bring back to humanity spaces of waiting, pause, rest, listening, deepening. And the obligation to stimulate man to use them.
We must become creators of a Time that remains.
And this rediscovered time needs Testimony.
Path - Research - Knowledge - When - Witness
Path - Research - Knowledge - When - Witness
The etymology of the word ‘Witness’ can be traced back to the Latin ‘testimonium’, which in turn derives from ‘testis’, in the most ancient form ‘tri-st-is’. This is composed of the root of the number ‘tre’ (three) = ‘tri-‘ and the root of the verb ‘stare’ (to stay), from which the first meaning of ‘stare terzo’ (being third), can be deduced, that is, between two subjects opposed to each other in the dispute. The Greek origin instead takes us back to ‘mártyr’, a word connected to the Indo-Germanic root ‘smar-‘ , then ‘mar-‘ , which means ‘ricordare’ (to remember), from which the Latin ‘memor’ , to be mindful. The same root is in the Sanskrit ‘smar-ami’ = ‘mi ricordo’ (I remember) , in the Greek ‘merimnao’ = ‘meditare, scrutare nella mente’ (to meditate, to scrutinize the mind) , ‘mermerizo’ = ‘volgere alla mente’ (to turn to the mind) , in Romanian ‘martor’ = ‘testimoniare’ (to testify) . We are therefore certain of two meanings, that of ‘being present, being between two subjects’, living an experience directly, and that of ‘remembering’. This means that the Witness does not remember something that he has been told, that he has heard from others, nor something that he has studied, drawing from third-party sources, but has the memory of an experience lived in the first person, so much so that he can tell it as it happened. This experience, in order to be represented and divulged, needs to be remembered, brought back to memory. And to the heart.The meaning of ‘Testify’ is therefore intimately linked to the meaning of ‘Remember’, which derives from the Latin ‘recordari’, composed of ‘re-‘ = in the sense of ‘ go back, return again’, and ‘cor, cordis’ = ‘cuore (heart)’ (considered in the past to be the seat of memory). In French ‘apprendre par coeur’ and in English ‘to know by heart’ = ‘to bring back to memory, learn by heart’.
It is therefore not a question of the cold and detached memory of any event, but of a profound experience that returns to the heart, with an emotional impact on the present, perhaps a reworking of what was, for an ever new re-adaptation based on the changed conditions of the soul.
Wanting to delve deeper into etymological research, one can note how in many languages the word ‘Witness’ is translated with terms that have in common the Indo-European root ‘weid–‘ which indicates ‘Vedere’ (Seeing) , but also ‘Sapere’ (Knowing) , knowledge acquired through sight, therefore once again thanks to presence, knowledge of a lived fact. In English ‘testimone’ (witness) = ‘wit-ness’ , in Russian = ‘svidetel’ , in Danish = ‘vid-ne’ , in Norwegian = ’vit-ne’ , in Icelandic ‘vit-ni‘ , in Swedish ‘be-vitna’. While ‘sapere’ (knowing) in Slovenian is ‘vedeti’, in German ‘vidzan’ (wissen – seeing with the mind’s eye), in Lithuanian ‘veizd-eti’ = ‘vedere, ritrarre con gli occhi’ (seeing, portraying with the eyes) . In Sanskrit ‘witness’ was ‘sākṣi’, as it still is today in Indonesian and Malay, which means ‘having the eye, knowledge acquired with the eye’.
The Witness remains vigilant to events, observing the happenings in the world around them. Rather than merely undergoing these processes, they internalize and rework them, discerning the good within, bringing it back to the heart, and allowing their soul to interpret it for contemporary understanding. Ultimately, they become not only a spokesperson but also a passionate advocate for these insights.
I speak to these rare souls, yearning to understand their perspectives. My actions are aimed at multiplying their presence. My Interactions serve as a lantern, guiding me in search of them through every Where and every When. Share with me your encounters with my works; recount the meanings you construct to facilitate a continuous expansion of our shared Language. I long to renew myself through dialogue, to immerse myself in relationships, and to be reborn through infinite questions.
I will permit my works to traverse every conceivable path.
I want them to engage with every custom, culture, and tradition. I desire them to be both abandoned and rediscovered, finding solace in the hands of dreamers and being carried aimlessly by wayfarers. I want them to gather emotions and release as many in return, telling the stories of all humanity and having something to convey to every individual. Some I hope will remain in the world forever, while others may return home to reveal who I was and who I have become.
Of this meeting and listening I seek Witnesses!
I yearn for testimony of a direct dialogue between awakened consciences, capable of creating a meaningful time in which to inscribe one’s very existence.
Presence of witnesses - Behind a man who has fallen into the water one dives all the more willingly if one is in the presence of people who do not dare to do so.
(Friedrich Nietzsche - Menschliches, Allzumenschliches, 1878 - Umano, troppo umano, 1878 -- Our unofficial translation for citation purposes)
(Friedrich Nietzsche - Menschliches, Allzumenschliches, 1878 - Umano, troppo umano, 1878 -- Our unofficial translation for citation purposes)
I AM WHERE YOU ARE
I AM WHERE
YOU ARE
More and more people are transporting my artworks from one city to another, traveling together all over the world. More and more people are writing to tell me about their emotions. In doing so, they become witnesses of a rediscovered time, an opportune time that generates solidarity and dialogue between human beings. Your testimony tells of an art rooted in existence, which permeates everyday life. Your participation expresses the need to find oneself in small gestures, in a brief understanding between strangers, in a simple painting to share. Your actions transform my art into an affirmation of life, into a critical presence in the world. Overcoming is built in interaction. Thank you for participating in my initiatives, your testimonies are the greatest reward for me. Thus, even my time in this world acquires a small meaning. Thank you again.
I AM WHEN YOU ARE
I AM WHEN
YOU ARE