1991, Foligno

ICONA (2016)

Perfection always seems to be an idea, nothing tangible or objective, which oats about our heads like the greatest example to follow, expressed in the images of a poster.

The figure gains form, taking on a new dimension and activating the process of tension towards like- ness. And in the insistence of the exercise, in the re- petition of the stroke, that the doing is condensed; from the error and the continuous attempt emerges the vibrating movement of the everyday.

Hence, formal reproduction becomes a means against which to measure and seek a likening to the icon. Drawing may bring with it the insistence of forms traced previously, along with the idea of successive possibilities.

Strength exists and insists in space and in power, even more than in the act itself.


It is a work originated by the absence of something else or for the urgency of something else.

In a moment when it seemed I got my hands on nothing, I found Mattia’s game.

Finding yourself in the wrong place at the wrong moment means running into a mental and/or physical place that does not correspond to your form.

This is the case in which it does not exist a unique fit; the prism wedging corner to corner in the surface finds its fit and gains a balance between the solid and the void, although it is not its proper place.

It is a consideration on the sense of inadequacy and on the absence of a motivation, a strength that generating a scenery of possibilities and circumstance can determine a harmonious state of things.

The images don’t want to represent the happy ending or a solution, but they are proofs, experiences, examples extracted from a story.

The square, the circle, the triangle and the hexagon become the lifeline because they refer to a code, something universally and instinctively known. The annoyance for the void can turn into the urgency of doing, otherwise it can come back stronger than before. As when you find yourself staring at a white wall.

Here the game is a starting point, thanks to the constructive energy of the shapes, it generates a universal language, in which the probabilities of fitting are infinite as much as the ones of finding a balance, a turning point or a new solution to the problem.


Livia Sperandio, Icona, 2016, inkjet print and drawing marker on paper
Livia Sperandio, Forma mentis, 2015, inkjet print
Livia Sperandio, Forma mentis, 2015, inkjet print
Livia Sperandio, Forma mentis, 2015, inkjet print