Opere Materiche

Combinazioni non previste danno vita a sequenze inedite, a nuove realtà che andando oltre alla dimensione del “caso” concorrono a determinare una diversa configurazione dell’immagine come sintesi tra scelte volute ed elementi “altri“ .
Da ciò deriva una dialettica tra “certo ed incerto”, tra ciò che è definibile come valore concluso e ciò che invece si pone come stadio avanzato di un percorso di avvicinamento al compiersi dell’idea.
Le opere risultanti restituiscono dell’evento una condizione di transitoria precarietà documentata da un ambiguo rapporto tra ciò che è, nello spazio e nel tempo, e ciò che ci appare, vero, nei limiti di uno sguardo imperfetto

The images invade the spaces of the canvas, fragments of the cadences of a rhythmic system like standard components of a rotating print-out in quadriform. As it develops the sequence measures the time and the space of the event: the picture in itself doesn’t matter, but rather its being a part of a design which reproduces itself incessantly in an unquiet possession of nothing, slowed in its development of foreign fragments of “presence”, part of a remote discourse capable of recalling other dimensions, not homologous with the original characteristics of the product. Almost an index of graphic formulas designed to form a newly organised linguistic system made up of signs and colours which offer composite rhythms, constant in their development, indecipherable in their cold fluidity.
The only temporal dimension that they allow is the present, a unique and unrepeatable moment which responds exclusively to a selective programme of images, each similar to a photo of a cinematic film, always similar to itself printed on a completed tape destined to ultimate destruction.
The eye observes this group of sequences which depict themselves as rhythmically modulated entities, rules and limits of a system of electric controls indecipherable in their infinite combinations, but potentially approaching a status of a work of art at the moment in which it must reveal a natural universe irredeemably changed by human action, but still charged with emotion and restlessness due to an unrevealed nomadic nature. The observer feels himself to be only a marginal variable of a larger process modelled on a negation of memory, on its inability to reproduce itself, on the generative casualness of its form, on the loss of an adequate communicative syntax, like an inhabitant of a vague metropolitan territory where “presence” defines and indicates a dimension that animate a world without a history.