Dimenticanze is a 15-episode narrative from 2017 to 2019 (here I present the 5 ones about motherhood)
It consists of 15 works, 10 of which correspond to 10
episodes whose theme is the absence and 5 specific episodes on motherhood. It
is a transformative narrative, an image processing of anxiety. The common
thread that binds the works is the will to sublimate the pain of the loss of a
part of itself that involves every panic attack and become aware of the
metamorphosis of that tiring moment of transition.
The purpose was not clear from the beginning but it became a
path to be taken in synergy with the artistic gesture as the narrative took
shape. The narrative topos of the first episodes is surely the will to hide,
with vomitings of tears and black rain, what is the maximum expression of the
suffering of bewilderment in the panic attack, therefore one's own absence in
front of itself. The narrative then widens and goes to embrace the absence of
the other from itself, then the loss. And the absence, initially, finds its
place only in the image and not in the word, because precisely the absence is
not, and yet it is something cumbersome that occupies the space without being
there. Its representation cannot be explained in words but must be lived by
entering into its depiction.
The ascending climax of gestures that veil everything that
recalls the presence, but that is manifested only in the experience of absence,
culminates in real violent attacks on the canvases, branding the personal
reality of the author, strong as the panic attacks witnessed by the photos of
which some works are composed: there, the artist, as an absent spectator of his
anguish, becomes an absolute protagonist, becomes presence. Obsessive eyes
torment the canvas as they distress the mind of those who live loss with such
intensity that they find no inner space for anything else. What remains of the
original pages and photos is only a subdued, sometimes perceptible voice,
hidden under the facade of the castings. And under the castings hide letters,
memories, poems, to which the words are erased: they have no function in the
poetic text, the absence is not allowed to be described. What remains is only
the pseudo-biography of absence that is based on the consideration of the
impossibility of an authentic narrative of pain with an external focus. You
have to be inside : absence is a spectacle that cannot be seen from afar. The
viewer can take part in the tragedy inherent in pain only with his own gaze but
the narrative will remain stump.
So the field narrows, with centripete movement: the
narrative passes from the outside, in which the pain is mute and does not find
expression, to be self-centered, with a strong presence of the artist, and
universal, made choral by the viewer's gaze. From the image of the letters and
pages, you go to the body. From color you switch to blood. Thus, fertility is
theatricalized as the ability to procreate and fertility as an ability to
generate. If in the panic attack it is the feeling of death that triumphs over life,
eternity now overwhelms unchallenged and wins. Although she crucified and put
the author herself on the wall, condemned by her own nature to re-enact her
cycles of anxiety forever and to have to move away from herself in order to
transform herself, here she reiterates the presence in front of her menstrual
blood. It is the blood that makes the body presence. The mixture between the
work and the author is complete: the author's body and blood have been
immolated on the altar of art.
Audiences can fall into the narrative. Turned.
