Velvet Goldmine Painting

Riccardo Capparella, aka Ticco, was born in Rome. He started drawing and painting as a child thanks to his father's painter's tools. Initially, he used ink on paper and made works strictly in black and white, a technique that fascinated him for over ten years. He switched to larger works and experimented different techniques and supports, favoring acrylics on canvas. His research focuses on the study of form in relation to randomness and unconscious. The artists and the cultural and aesthetic movement that have inspired him are part of an era, that of Art Nouveau, which has influenced all the graphics, advertising and visual arts. It is mostly the philosophical and experimental part of Art Nouveau that this young artist draws from, instead of the decadent aesthetics. It is the use of some specific forms that shakes and inspires him. Riccardo's creative process investigates the profound contrasts between lights, shadows, darkness and saturated colors, placing each work in an almost esoteric dimension. A project or a sketch of the work is never carried out, but through an approach to the theory of binaural tones, the artist is transported by the passage of the Beta frequencies to the Gamma and Alpha frequencies. This state induced by music arises the form. The resulting ones are often close to the figures created by cymatics. That of Riccardo Capparella is a morphogenesis that sees the sound frequencies generate a stage of consciousness that leads to a vibration of the human body as a further vibrating instrument, which becomes medium and yet with its essence unconsciously changes the very structure of the form. The geometries and the graphisms created are not only the result of cymatics, but between the force generated and the object on which the shape is created there is a human vehicle, in a stage of consciousness guided by the sound vibrations and the brain’s elaborations frequencies. In this case, painting becomes a synaesthetic gesture able to create a space - a world of sound as highlighted by a series of paintings by Riccardo entitled "This is the Planet of Sound" - where even the concept of "error" expands to disappear, returning to a scientific vision, where error is nothing but evolution. The synaesthetic relationships between form and color of which Kandinski spoke of are found above all in some of the works: the yellow and the triangle, the red and the square, the blue and the circle.