work
Metamorfosi
| category | Painting |
| subject | Landscape, Nature, Abstract, Architecture |
| tags | |
| base | 32 cm |
| height | 43 cm |
| depth | 5 cm |
| year | 2024 |
Marble dust (travertine), beeswax, natural pigments, mixed media on board
At a certain point in their shared reflections, Socrates tells Phaedrus of a discovery made on a day now long gone[..].
Walking along the seashore, Socrates comes across an «indescribable object» abandoned by the surf on the shore. Fish bone, ivory, stone, marble? The material remains unknown. The shape, enigmatic, unassignable. The work of the interminable work of the sea and natural agents or of the artistic ability of a mortal, of chance or of ingenuity? Accident or design? The wreck that leads Socrates to his reflections is a hesitant object, which lingers on the threshold of meaning; like poetry, which is neither word nor song but constantly holds itself «on the verge of singing», and this is the reason why with it one should never rush «to reach the meaning». As if the aesthetic fact were the foreboding imminence of a revelation and not its unfolding production. Socrates has therefore found an object that is more possible than real: because it comes from the sea, and «a look at the sea», says Valéry in his autobiographical Mediterranean Inspirations, «is a look at the possible»[..].
(Valéry himself, probably narrating an episode that happened to him at sea, compares himself to a «wreck at the edge of the critical zone»). The wreck comes from the possible but remains immersed in it as if in angelic hesitation, it does not “betray” its origin, its source.
M. Carboni, La mosca di Dreyer, cit., p.98.
At a certain point in their shared reflections, Socrates tells Phaedrus of a discovery made on a day now long gone[..].
Walking along the seashore, Socrates comes across an «indescribable object» abandoned by the surf on the shore. Fish bone, ivory, stone, marble? The material remains unknown. The shape, enigmatic, unassignable. The work of the interminable work of the sea and natural agents or of the artistic ability of a mortal, of chance or of ingenuity? Accident or design? The wreck that leads Socrates to his reflections is a hesitant object, which lingers on the threshold of meaning; like poetry, which is neither word nor song but constantly holds itself «on the verge of singing», and this is the reason why with it one should never rush «to reach the meaning». As if the aesthetic fact were the foreboding imminence of a revelation and not its unfolding production. Socrates has therefore found an object that is more possible than real: because it comes from the sea, and «a look at the sea», says Valéry in his autobiographical Mediterranean Inspirations, «is a look at the possible»[..].
(Valéry himself, probably narrating an episode that happened to him at sea, compares himself to a «wreck at the edge of the critical zone»). The wreck comes from the possible but remains immersed in it as if in angelic hesitation, it does not “betray” its origin, its source.
M. Carboni, La mosca di Dreyer, cit., p.98.
