SENZA TITOLO (2016)
Hands cupping an object, carefully studying the surface, caressing the form, imperfections and all.
The action is carried out with constancy over a long time, until it becomes a sort of private ritual. The obsession of the gesture activates a process that fills a loss, that aims to reappraise a distant memory. The time spent and the repetition of the movements ensure that the object takes on an alternative meaning, shedding its original function.
DIFETTO DI DISTANZA (2015)
“This is why the drawings, although they comprehend, or at least they try to, a presence, are actually dealing with absence”
John Berger, On drawing
Images are the result of observations from the past that lie in our memory, they are brought back through the drawing. The movement of the paint brush wants to drive out something that tortures us and that is related to absence. The initially transparent expansion becomes the ink able to bring to the surface the imagination that slowly turns black to become part of the present. The temporary invisibility of the drawing is like capturing directly from our past, that emerges on the sheet in the same way as a memory arises from the mind of the person who lived it.
The summit is an illusion and the drawing a chance of carving out for ourselves a breach into another dimension, a window on a temporary non-available reality.
The line speaks about time, it burns off the distance that separates us from the subject that now lies on the white surface: the mind draws from the memory without any interference, it removes a projection to tranfer it on the sheet. In this way, water and light are heralds for distant landscapes, as if they possessed their own memory and were able to remember it
The action is obsessive, the subject is reiterated: in an intimate dimension an imaginary place is found of which we conserve positive memories.
In the place that we can’t reach by foot, we arrive with our mind.
And where are you?