work
CONNESSIONI: Il rumore della folla
| category | Painting |
| subject | Abstract |
| tags | memoria, sociale, gente, linea del tempo |
| base | 100 cm |
| height | 40 cm |
| depth | 0 cm |
| year | 2025 |
The work, created on a metal plate using a mixed technique of unconventional engraving, acrylics, metallic powders, and transfer prints, presents itself as a layered surface in which material and image construct a complex visual and conceptual field. The metal is not merely a support, but becomes an active part of the expressive language: scratches, abrasions, and oxidations transform the surface into a veritable palimpsest of materials, marked by time and the artist's intervention.
The composition unfolds in a tripartite horizontal structure. In the upper section, a rarefied pictorial material, constructed through glazes of acrylic and metallic powders, generates an indistinct, almost atmospheric landscape, where muted shades of gray, green, and purple evoke a suspended and distant urban or industrial environment. In the center, a dark, compact band introduces a strong visual caesura: a line of tension that acts as a symbolic and perceptual boundary, simultaneously separating and connecting the different levels of the composition.
The lower section features figurative fragments obtained through transfer prints, showing faces, bodies, and collective scenes related to the public and social sphere. However, these images are partially erased, corroded, and crisscrossed by drips and abrasions. The material process renders them unstable, as if they were memories or visual documents subject to continuous erosion.
The coexistence of abstraction and figurative fragment generates a tension that reflects the work's social theme: the relationship between the individual and the collective, between visibility and anonymity. The figures, immersed in the material, seem to progressively lose their identity, transforming into collective and indistinct presences. In this sense, the metal surface becomes a metaphor for a stratified urban and social space, where images and memories overlap, fade, and transform over time.
The unity of the work arises not from the uniformity of the elements, but from their dynamic integration. The material continuity of the metal, the limited color range, and the horizontal structure maintain cohesion, while the mixed techniques produce a visual vibration that permeates the entire surface. The result is a composition in which painting, engraving, and photographic image merge into a single visual organism, capable of evoking a reflection on collective memory, the fragility of identity, and the stratification of social experiences.
The composition unfolds in a tripartite horizontal structure. In the upper section, a rarefied pictorial material, constructed through glazes of acrylic and metallic powders, generates an indistinct, almost atmospheric landscape, where muted shades of gray, green, and purple evoke a suspended and distant urban or industrial environment. In the center, a dark, compact band introduces a strong visual caesura: a line of tension that acts as a symbolic and perceptual boundary, simultaneously separating and connecting the different levels of the composition.
The lower section features figurative fragments obtained through transfer prints, showing faces, bodies, and collective scenes related to the public and social sphere. However, these images are partially erased, corroded, and crisscrossed by drips and abrasions. The material process renders them unstable, as if they were memories or visual documents subject to continuous erosion.
The coexistence of abstraction and figurative fragment generates a tension that reflects the work's social theme: the relationship between the individual and the collective, between visibility and anonymity. The figures, immersed in the material, seem to progressively lose their identity, transforming into collective and indistinct presences. In this sense, the metal surface becomes a metaphor for a stratified urban and social space, where images and memories overlap, fade, and transform over time.
The unity of the work arises not from the uniformity of the elements, but from their dynamic integration. The material continuity of the metal, the limited color range, and the horizontal structure maintain cohesion, while the mixed techniques produce a visual vibration that permeates the entire surface. The result is a composition in which painting, engraving, and photographic image merge into a single visual organism, capable of evoking a reflection on collective memory, the fragility of identity, and the stratification of social experiences.
