VIEW IN MY ROOM
Italy
Painting, Acrylic on Wood
Size: 39.4 W x 23.6 H x 1.2 D in
Ships in a Box
Is there something? And why not nothing? It is very curious, how art makes you find what you are looking for. Perhaps through the image a coherent and unclear explanation of the world. Certainly the urgency, the palpitation of acting in a physical state in which I seem to be locked up in the very material of the painting. There is no way to distance yourself: it is the blindness of an instant, up to a terrible sense of lack that must be fought to make it become an object. A lack that cannot be filled by any other form, which however is not the result of what I have omitted to reveal in the same movement: freedom and enslavement. Di fronte al dipinto come di fronte al quesito: c’è qualcosa? e perché non il nulla? È molto curioso, come l’Arte ti fa trovare ciò che vi si cerca. Forse tramite l’immagine una spiegazione coerente e non fissurata del mondo. Sicuramente l’urgenza, la palpitazione di agire uno stato fisico in cui mi sembra di essere rinchiuso nella materia stessa del quadro. Non c’è modo di prendere distanze: è l’accecamento di un istante, fino a un terribile senso di mancanza che bisogna combattere per farlo diventare un oggetto. Una mancanza che non può essere colmata da alcuna altra forma, che però non è il frutto di ciò che ho omesso di rivelare nello stesso movimento: libertà e asservimento.
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:39.4 W x 23.6 H x 1.2 D in
Frame:Other
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Italy.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
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My artistic research is closely linked to the vision of the world as a movement permeated by the energy of human fragility. At the core of my work lies the idea of «Corpus-et-Vulnus,» an existential alchemical synthesis that merges the physical and spiritual aspects. Visually, it’s not just about haptic volumes triggered within the device. I move within the unusual space of interstitial zones between painting∞sculpture, influenced by the language of cinema, dance, music, and photography, in order to continually re-signify exhibition spaces and experiment with practices that foster a unique process of relationships. This process can unveil a shared lexicon between artists and participants. Among many other things, I have also abandoned the nail of painting being attached to the wall of a white cube and brought the devices down from the pedestal to the ground amidst the «contemporary cathedrals of vulnerability»: former prisons-asylums-slaughterhouses-hospitals-church-boats… hibernated places in our metropolises where we can discover what lies behind-the-functioning-world. To concretize my artistic vision, I have named the devices “Communicating Artistic Organisms” because they do not have a fixed and concluded form, but are composed of an ever-evolving “Cosmic-Fabric-Weave,” where everything is in a state of change: chemical reactions, fermentations, chromatic alterations, and decay. This name reinforces the idea that art is a process closely linked to life as raw material and involves an active and inclusive interpretative nature between artists and participants, where the entire process of relationships that ensues can reveal connections, affinities, and possible developments. Expanding on the terms of site-specific and site-sensitive devices, I speak of «Site-Coexistence,» which is the attempt to create not a confrontation but a dialogue between multiple existences for a more impactful experience, even if confined to the time and space of the exhibition performance. My personal artistic language has developed through experimentation and inspiration from great masters such as Kiefer, Parmiggiani, Beuys… My artistic design is heavily influenced by the tradition of informal and conceptual art, in which the irreversible and continuous transformation of the «Body-beyond-Matter» is an integral part of an «Nomadic Ethics» and «Aesthetics-of-Convergence» based on the creative mechanisms of Ruins.
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