"situation @" Painting

ABBA
The Beauty of Burning

In ABBA's work, burning becomes both sign and language.
In this chimerical and hypertrophic figure, combustion and soot are elevated to a spiritual substance, as a residue and testimony to a burning existence.
Artistic Syntax
My research arises from the encounter between archaeology, memory, and the unconscious.
My figures do not represent individuals, but presences. They are entities suspended between the archaeological find and the living organism, between what belongs to human history and what continues to emerge from its unconscious.
The disc-shaped heads recall the Aeneolithic stele statues of Lunigiana, Sardinia, and the Mediterranean. Aeneolithic statues and figurines with circular (or disc-shaped) heads are stylized human representations common throughout the Mediterranean and Europe, not as a formal reference, but as a universal archetype. In those ancient figures, I recognize an extreme synthesis of the human being: a face stripped of individual identity that becomes collective memory, ancestor worship, and the symbol of a timeless consciousness.
The threads that construct the body represent the fragility of existence and the invisible connections that bind memory, time, and energy. The golden inclusions evoke artifacts, minerals, fossil cells, or fragments of lost knowledge: precious elements that survive the erosion of time.
My work develops as a personal archaeology of the unconscious. Each piece is a hybrid organism, in which the language of Art Brut, the spirituality of prehistoric cultures, and contemporary sensibility merge into a new visual mythology. I do not seek to reconstruct the past, but to imagine what continues to inhabit the present through its traces.
The human figure is reduced to its essential elements until it becomes a sign, a symbol, a totem. The viewer is invited to engage with an image that offers no answers, but raises questions about the origins of consciousness, the relationship between body and spirit, and the memory that spans civilizations.
My works are relics of a time that never existed and, precisely for this reason, belongs to everyone.
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I believe this research also has a distinctive element: your figure is not a copy of the stele statues. The circular head and verticality hark back to that imagery, but the body constructed from interwoven threads introduces a personal, almost biological or neuronal lexicon.