Works on large canvas on the theme of the “sacred” – as they have understood and represented it for generations. Icons handed down for millennia that still have a universal communication power that contemporary art could make its own. I have taken them in this works to put them to the test by revisiting them with style and poor materials.
How then do we picture the deities? They look at us from above, distant (MADONNINA BLU) or understanding (PICCOLA SANTA), generous (CERERE), powerful and omniscient. Thus in ANFIBIA, an archaic Demeter who sees us and our shards – an evidence of entropy – In the middle, the frog, symbol of primordial life, jumps away downwards. So does the CERERE ROSA (Pink Ceres) that observes us and carries the waste of what she had originated as a result of the human passage. Inspired by Ingres’s Madame Moitessier, it is certainly iconic: in fact it is taken from the Roman fresco of the Basilica of Herculaneum (Hercules finds his son Telephus). His gaze then recalls a Madonna by Paolo Veneziano. And if we then see divinity, are we in danger? CROCE PARMIGIANINA (Parmigianina cross) inspired by Parmigianino’s fresco in Fontanellato, shows Atteone, already transformed into a deer for having had the vision of the naked divinity, who tries in vain to be recognized by his own dogs.
Nascoste nel A MARE ci sono alcune mie icone – Pina Bausch,Tina Modotti, il volto di madmoiselle Riviere di Ingres ora al Louvre
Condividiamo con la natura l’arcaica potenza della creazione RANACROCE, siamo pervasi da quel misterioso flusso di energia (TRITTICO ROSSO E ORO), e mentre l’umanità prega (PORTAPREGHIERA) rivolta verso l’alto, alla base la sua immagine capovolta, con il ventre colmo di semi, si inoltra nel nero arcaico del generare. Una circolarità tra un supremo invocato e un io – che non possono che coincidere e condensarsi nella sua stessa ombra. A lato un vuoto fuori dal quadro – una uscita, una sospensione del dire ciò che è comunque un po più in là, indicibile.
Some of my icons are hidden in the A MARE (At sea) – Pina Bausch, Tina Modotti, the face of Ingres’ madmoiselle Riviere now in the Louvre.
We share with nature the archaic power of RANACROCE creation, we are pervaded by that mysterious flow of energy (TRITTICO ROSSO E ORO Red and gold triptych), and while humanity prays (PORTAPREGHIERA Prayer holder) facing upwards, at the base its upside-down image, with the belly full of seeds, goes into the archaic black of generating. A circularity between an invoked supreme and an ego – which can only coincide and condense in its own shadow. On the side there is a void outside the painting – an exit, a suspension of saying what is however a little further on, unspeakable.
