work
Metamorfosi
| category | Painting |
| subject | Landscape, Nature, Abstract, Architecture |
| tags | |
| base | 81 cm |
| height | 110 cm |
| depth | 5 cm |
| year | 2024 |
Marble dust, beeswax, natural pigments, mixed media on board.
My research ideally shares a lot with the alchemical process: in the utopia of changing the organic into its opposite and vice versa, of transfiguring the transience of human matter into something resilient.
This translates into the attempt to establish a dialogue between the intentionality of the artistic project and the unpredictability of natural processes, offering an experience that embraces time and transformation.
The rhythmic sedimentation of beeswax and natural pigments evokes the hand of man and his ability to shape and modify the landscape, while the marble dust, a symbol of monumentality and memory, refers to the language of nature.
Time plays a fundamental role in the perception and enjoyment of the work: the stratifications are not reduced to a mere aesthetic result, but represent a temporal sedimentation similar to the orogenesis of a mountainous relief.
Just as the traces of a remote past remain imprinted in the genetic code of the human body, so these sediments reflect a history, their evolution.
In this way we observe a shift in the centralized vision of man that ranges between organic and inorganic. This process is not only an intentional act but a physical and metapictorial practice that is expressed in a personal mediation with matter, suggestions and interpretations that take on the characteristics of a daily ritual.
My research ideally shares a lot with the alchemical process: in the utopia of changing the organic into its opposite and vice versa, of transfiguring the transience of human matter into something resilient.
This translates into the attempt to establish a dialogue between the intentionality of the artistic project and the unpredictability of natural processes, offering an experience that embraces time and transformation.
The rhythmic sedimentation of beeswax and natural pigments evokes the hand of man and his ability to shape and modify the landscape, while the marble dust, a symbol of monumentality and memory, refers to the language of nature.
Time plays a fundamental role in the perception and enjoyment of the work: the stratifications are not reduced to a mere aesthetic result, but represent a temporal sedimentation similar to the orogenesis of a mountainous relief.
Just as the traces of a remote past remain imprinted in the genetic code of the human body, so these sediments reflect a history, their evolution.
In this way we observe a shift in the centralized vision of man that ranges between organic and inorganic. This process is not only an intentional act but a physical and metapictorial practice that is expressed in a personal mediation with matter, suggestions and interpretations that take on the characteristics of a daily ritual.
