"Two thousand one hundred and fifty"My art project emerged from a reflection on the environment, and how humans relate to... Read More
"Two thousand one hundred and fifty"
My art project emerged from a reflection on the
environment, and how humans relate to it and its changes. I imagined what it
would be to visit the future, to find myself in 2150 in my hometown, Versilia,
Tuscany, Italy. Starting from that narrative, I began to imagine what the
landscape would look like, applying a science fiction perspective to explain
factors of this landscape and how humans relate to the changes that would have
taken place. I imagined red skies and blue landscapes and people, and then I
imagined the normaly that would derive from this landscape, the adaptation of
humans to their new surroundings, basically continuing to live they always
have. The message being that, while things change, they always stay the same.
The entire project is conceptualized as a logbook of a
time traveler, with notes and reflections on what they see and do, representing
situations both in a cityscape and interpersonal interactions, during their
stay in 2150. At a narrative level, I have chosen a red and blue world,
imagining that it is caused by pollution and the thinning of the ozone, which
science has shown influences the chromatic spectrum by diminishing yellow, so
the color spectrum would not reach that range.
Red and blue represent the dualism that lives within
each of us. Bringing together two opposite colors – such as red and blue –
represents the meeting of hot and cold, carnal and spiritual, in a spiral of
contradictions. My intent was to have these two colors coexist and harmonize,
experimenting as much as possible with every harmonious aspect of composition
and color. I used glazes as the primary medium for the paintings. The color is
poured onto the canvas by borrowing the dripping technique, but applying it
differently from what the collective imagination attributes it to. Because
there is no improvisation, there is no chaos on the canvas – there is no
confrontation, but, rather, everything is planned, each gesture is the result
of thoughtful and precise action, which has translated to an ordered and
decisive composition. The stratification of the material remains fundamental
for me in my exploration as an artist; each layer of color lives independently,
and, step-by-step, the viewer is able to glimpse the entire history contained
in the picture. This gives life to all of the whimsicalities and doodles
created by the dance of the wrist over the canvas. The meticulousness in my
paintings attempts to convey our presence in the material and physical world
with which we interact, in which we are immersed, as opposed to the digital,
immaterial, incorporeal sphere.
The landscape is all that we live, it is the context
in which we find ourselves daily. From the moment we look
out the window or leave the house, everything becomes the landscape.
"Flowers field" concludes project "Two thousand one hundred and fifty" and with the inclusion of yellow and green in the composition opens to an encouraging sign of hope and is the consequence of a personal and artistic evolutionary process. The absence of human figure, in a landscape that becomes more metaphysical, indicates the beginning of a slow reconquest by nature on man, opening up to a dialogue between what we are and what surrounds us. The painting would like to sensitize the viewer on his personal relationship that he has with the sphere of nature and the world he inhabits, leading him to ask himself: What I expect from the future? What am I doing for the world of tomorrow?
My painting wants to be a warning and at the same time a sign of hope, of how much beauty can persist in our beautiful world, even if things do not go well.