The magic room of Ouroboros

The magic room of Ouroboros

Painting, Sacred / Mythological, Oil, 200x180cm
The investigation of the Painting evocative power is the central core of my research. I feed myself with images, representations and whatever artefact able to survive to the owing of time leaving a sediment in reality as a relique of a past never passed. My interest has an archeologist nature, that leads me to discover and collect these traces, coming from different antique civilizations, based on a easy and single crite- rion or condition: Being trace and/or direct consequence of the timeless atempt of human beings to comunicate with a higher reality, an oniric world of myths and faiths, beliefs and religions, as natural and necessary manifestation of his own nature.
In this omnivorous process the Painting takes place as a catalyst for the making of images and objects which stand on a strange alchemy becoming universal, leaving behind time and space coordinates.
The paintings, like the sculptures, are the result of a several steps layering process. Time after time objects, surfaces and spacial coordinates disappear and appear again leaving clearly their own traces till reaching the paradox, or to better say a metaphy- sic stasis situation where the subject blends with its own habitat till become a pure tool necessary to the idea.
What mainly interest me is giving a sensation, make a situation, where the viewer loses himself in looking and at the same time feeling an unsettling extraneousness: the image is always cynical and together full of pathos. In my work the light plays a fundamental role: the scenes time by time reveal themselves, , crossed by a sparse light, crepuscolar, where the borders uncover their gentle and net roundness. The light helps to “discover” in reading the steps and the elements.
I could de ne the compositions and the enviroments in my paintings as circus more real than reality with Fellini’s reminiscences.
Often the enviroments remind of magic rooms, rituals, where objects-presences are in a silent dialogue. Objects that remind of myths and beliefs, magical vases, the fa- mous Uroboros snake which belong to the alchemical tradition, cactus and vegetation that become sculptural presence, and cerimonial texture and textiles coming from the far East as from prehistoric precolombian civilities. Everything is real and fake at the same time, the leopard skin become trash carpet, a plant become sculpture, animal furs destined to love each other binded to a structure which avoid every motion, vases and chandeliers melted with several material steps to lose in its shape and be- come living presence of a dead and synthetic material.
Oxymorphic tensions hold their existences, live or dead, real or fake, holy or profane. My obsession meet at last time by time with the same take of consciousness, the truth of the heaviness of matter, the artefact as acces key to the aura dimension but useless in its beauty and materiality.
My work is a research to the universal archetype, a path of ingestion and sedimenta- tion of symbols and images ready to disappear and leave only their trace.

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Comments 1

Antonio Mercadante
2 years ago
Chi è creativo stabilisce un rapporto ambiguo con la realtà che lo circonda in quanto, anche se facente parte di essa, ne modifica l'intensità creando mondi, suoni,forme che altrimenti non esisterebbero quindi... in qualche modo le disobbedisce. Un po' come un ragazzino che al contrario di quanto gli dica la mamma prende la sua bici e va alla scoperta...

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