2009 respiro

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09

Respiro

The sculptures and installations of this period are joined by works on paper, often large in size: while focusing on questions that cross the entire artist’s oeuvre,[read more=”Read More”less=”Read Less”]certain of these works offer us a chance for perhaps a closer approach to his personal sphere, almost to his physical being. We might talk about a proximity that is exposed to the gaze, in a cycle of works on paper under a single title: Respiro (Breath). The large sheets of paper lined up in overlaid rows are crossed by bundles of sinuous lines that flee to the margins. The observer is attracted by their slenderness and, at the same time, their evidence, deceptively like filaments, or hairs embedded in applied onto the paper. The sign is actually obtained with ink, but – as the artist explains – the result is possible only through particular physical and mental preparation: “To obtain this sign, it takes a gesture done with a special brush, with long bristles, dipped in ink. The ink held by the bristles is deposited with a wide, flowing, continuous gesture. Breathing is important: the exhalation accompanies the whole trajectory of the sign on the paper, and the air contained in the lungs is released in synchrony with the release of the ink from the bristles. The lines that cross the sheet have their own shape. Those modulations can be compared to the signs made by a seismograph: the point of the brush records an inner state, just at the tip of the seismograph records telluric movements, or the encephalogram records brain activity.” It is breathing, then, its rhythm, that determines the fluid movement of the lines that cross the paper.[/read]

Respiro. Ink on paper, 6 sheets 66×101 cm each, 2009 [D0391]

Respiro. Ink on paper, 6 sheets 66×101 cm each, 2009 [D0392]

Respiro. Ink on paper, 6 sheets 66×101 cm each, 2009 [D0393]

2006 Omphalos – disegni

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06

Omphalos I

The idea of center as origin, the place from which infinite directions depart, or the infinitely small vanishing point, is found in the iron scultpure Omphalos,[read more=”Read More”less=”Read Less”]a series of ink drawings with the same title, and La freccia che colpisce il bersaglio vola per sempre, a sculpture in white terracotta whose four parts are, in turn, composed of a series of concentric sub-parts sloping towards the inside to form a sort of visual vortex. Omphalos is a word from ancient Greek meaning “navel,” but also umbilical cord, the center of the Earth. The omphalos is the center of the human body, but it is also, significantly, a scar that bears witness to the moment in which we were separated from the maternal body that hosted and generated us; it is the tangible sign of a separation, but also of the conquest of an independent life. The reference to the many meanings of this word emerges in two sculptures, one in iron and one in graphite, and their related drawings. In the sculptures the movement of expansion that starts at the center necessarily encounters a limit at the borders of the object, while in the drawings the lines that spread out from the center suggest a potentially infinite movement. Again in these works, it is not so much the natural, the living that is shown and represented. As the artist remarks in his writing, instead it is a question of “to act as nature would, which is also typical of the alchemical process. The alchemist is he who sets out not to reproduce a natural phenomenon in the laboratory, but to pro-duce processes of transmutation according to the ways of nature, attuning soul and body to its way of proceeding”.[/read]

Omphalos. Ink on paper, 2 sheets 66×102 cm each, 2006/2007 [D0042]

Omphalos. Ink on paper, 2 sheets 66×102 cm each, 2006/2007 [D0047]

Omphalos. Ink on braille paper, 51×34 cm, 2006/2007 [D0122]

Omphalos. Ink on braille paper, 51×34 cm, 2006/2007 [D0123]

Omphalos. Ink on paper, 3 sheets 66×102 cm each, 2006/2007 [D0039]

Omphalos. Ink on paper, 2 sheets 66×102 cm each, 2006/2007 [D0040]