The work was born in 2019 even if today it is in continuous evolution: the addition of two further elements dates back to 2020, an old pliers in the center, aimed at representing "Hate", and a metal arch, placed on the side left of the installation.
The work was carried out in the laboratory, where sunlight was used, in particular as regards the painting of the woods. In fact, it is no coincidence that the perfect installation of the work turns out to be adjacent to a window, through which the sun's rays can penetrate to illuminate the representation in profile and, hitting the firelighters and sticks (arrows), can thus create a fascinating play of light and shadow: it is natural that the ideal moment to enjoy this show is sunset, that is when the light tends to color everything orange.
As in Caravaggio's "Vocation of Saint Matthew".
Like a child who, when he closes his eyes, notices the sensations that light leaves on his retina and instantly captures the image of the world making it his own: the shadows almost become arrows as soon as they cross the solar disk in the perspective space. This is the feeling that you want to recreate in the work.
Materials: wood, firelighters, water-based paint, a tong (HATRED), a steel bar with rings (arco), ceramic.
This work is part of the OperaDue collection for the color blue and not for the object that over time it is suggested later.
The OperaDue series was performed in two working bars: the first consists of the beginning of the work, defined as point A, the origin. From here time takes shape, the void of sedimentation, which can take years, thus leaving the work nailed, in a state of suspension. It happens that, after the necessary detachment from the work, the idea arrives, the creative digestion, called TWO, which determines the very end of the work. Usually the final gesture is given by the object, but here it is the blue paint mixed with white tempera that plays the last act.
Living under the arch
To simplify consider an arc, whose first column represents point A, while the other indicates what is defined as OperaDUE; finally, the imaginary curvature of the arch identifies the suspension time between point A and OperaDUE.
Often the works belong to the daily life of a creator, they fill the rooms of his life, until the work, once matured (OperaDUE), finished, is set aside, sold, given away.
SOFT WATER, 2022, painting on canvas, 150x100.
The work is based on two important processing times:
The cancellation with white tempera, dating back to 2021, of the previous work.
The work was performed at sunset in one sitting (approx. 2 hours). The idea was to make large shapes/patterns with blue and variations of blue.
The current title of the painting is "Soft water", the original one was "Shipwreck" which later became "41B-418" (exchange between B and 8).
The reason for this change is that in this work I do not want there to be a precise association with a shipwreck, for example, since, according to what emerges from Rothko's monograph, the title of a creation must never set limits to a new, other (therefore possible) idea, that is, that of the person looking at the painting.
"It is true that the viewer must be guided but in this work I would like to dialogue with the viewer".
Photography and painting "Soft water"
The photograph was taken on 7/7/20 on the SP Trignina between Abruzzo and Molise.
The subject is given by an abandoned structure, a former sand factory, which has always fascinated me. His observation has always suggested to me images and scenic sequences, as if it were the stage trodden by the actors of a theater.
The pictorial work thanks to a graphics program has been inserted on the photo of the structure described above.
The work is part of a series called "Between me and the Wood" which began in February 2020.
Plywood painted with acrylics. The vault panels were painted individually, reading the texture of the wood, then in pairs and finally they were installed separately with other multi-material works: however the main interpreter is color. Almost all of them have been painted front, back and sides (as if we were continuing a reading of wood and color, as well as the geometric shape of their perimeter).
The air tablets move following the air circulation in the room, while others are accumulated with other objects.
Other materials: screws, nylon thread, iron/steel wire, various objects.
The objects, previously used according to their original function, are now placed in the work on a painted wooden table and they themselves determine the title of the work.
In a time the object was made partaker of l'opera, only with an aesthetic value, sometimes becoming its main figure, however then "with the various works it has regained the value it has in everyday life (being used and being put back in the work of art, with aesthetic but also functional value).
You can see “MartelloGalleriaa” and the work
The paintings on paperthey representa relationship between gesture and color. Born "crawling",that is simply by removing the last residue of color from the brushes before they end up under the jet of water.
The next step takes place on the virgin canvas as in the work "io22seFumoDisegno".
These jobs are part of the series “Crawl every day” or simply “Stretch out” and involve the user, since they are works that makeimagine, like someone who looks at the moon and sees only one face but then over time manages to glimpse ever different faces.
2022, acrylic paint on virgin canvas, 60X50,.
This work is part of the "io22se" series, the result of a visual reasoning with color and gesture.
This work began during the first Covid 19 isolation (February 20) and continues today.
The unique and main subject is given by the man in half-length, foreshortened in profile; or rather, the initial idea was to reproduce man, but the final product, determined by the arrival of the idea, was developed in representing man by means of color and sign.
Materials: acrylics, ecoline and water colors on paper and virgin canvas
The table was composed and painted in the LaboratorioGalleriaa space during the days of the "iLprogresso deLcamminatore" performance. It is made up of two zinc plates, one external and the other internal, worked and dented. The wooden circle was painted with nitro paint and yellow and red water-based paint.Moreover, the circular plane is divided in two by a low line drawn with a line, the latter dividing the chemical paint from the yellow water-based paint.
The nitro paint was removed in the upper part of the support surface with a spatula and collected on a wooden board entitled "PelleDelTavolo/table skin " colored with magenta-red.
Texts by: CColonna, Arkedalus
Proof-reader: Chiara Marchesin