The Birth of Fragments (Unstable Geometries). If the Italian proverb “ when the pope is dead, another is made” is true, it is equally true that the new one, despite his physical diversity, cannot fail to continue the same dogma, belief and credo as his predecessor. The reference to my new creative stage, which commenced in spring 2005, is very clear (even though it may seem somewhat blasphemous), with the sole difference that the previous “pope” who “reigned” for 33 years is not “dead”, for he is eternal. The “new” one is simply sitting beside him and will undoubtedly draw precious and wise advice from him: Habemus duos Papas! Allegorical euphemisms aside, I thought it both useful and necessary to disclose the meaning of my new and future artistic work. This “new vision”, characterised by an apparently brusque change in my iconography of over 30 years, could easily induce those with a passing familiarity with my work to think that it constituted a sudden and decisive change of direction. This is simultaneously true and false: true in terms of the purely material execution of the work, but false from a conceptual viewpoint, which remains characterised by “narrative”, albeit within an extremely rigorous graphical framework.
I thought it apt to go beyond the mere geometric composition of the image (which, actually, can already be found in my 1970s works), adding the story of the precarious and insubstantial “existential” stability of the FRAGMENTS.
Acrylic with plaster
Acrylic with plaster
Acrylic with plaster
Acrylic with plaster
The purely visual aspect could not be devoid of an underlying rational philosophy narrated by means of the most various forms of different “substance” and using graphic symbolism to represent the different aspects of being.
They are the courses of our life, from birth to death, punctuated with the perils, joys, victories and defeats in which each of us play a leading role along the way that fate has set us.
In accordance with the law of gravity, in most cases the paths and accompanying situations start at the top and peter out towards the bottom of the picture. The initial and final spaces are often emphasised by the “outlined” and formless courses marked by our destiny. The “obstruction”, which is often chromatically indicated with a bright colour and a more or less straight line, is merely an obstacle in our path – it is up to us to overcome it. The impact with the “obstruction” has its own clear typology, from bland to violent, from single to multiple fragmentations, from “slipping” to “melting”, almost as though describing the entity and diversity of the “trauma” suffered. Once we have overcome the “impact”, we can continue our progress along our recomposed and orderly path. I have thus given substance and vigour to my geometrie instabili. The boundless imagination and curiosity that are part of my character have allowed me to sense and subsequently create several derivations, such as Fragments Chest and Plus & Minus, intended as a new and different form of the “sculptural object”, and the recent basrelief casts, completed by a special and elaborate stand.