SERIES
The Bones of Light series takes its name from the homonymous artist’s installation, exhibited in the spaces of L’Ascensore in Palermo. The works develop around the stroke, amplified by refracting light in the abrasions and grooves engraved with electric grinders on metal surfaces.
Metal, with its natural quality of reflecting and refracting light, becomes a living medium, emphasized by the thin glazings of oil paint. Along with the stroke, the color is as if discovered: both emerge, revealing themselves during the creative process.
Each engraving is the result of an instinctive gesture, at times ritualistic, brings the creative act closer to a zen meditative state, defined as Mushin (absence of mind). In this state, the artist works with such automatic transport that he often engraves with his eyes closed, letting the work emerge spontaneously.
A distinctive feature of the series is its kinetic effect: the engraved strokes, interacting with light and the viewer’s movement, generate a dynamic and immersive experience and an iridescent abstraction characterized by the light conditions. The effect is like an electronic display, but with a strangely archaic aura. The engravings, extended over the entire surface of the works, appear like holograms, evoking energy flows or ancient primitive signs, almost suggesting something of original, a primordial visual language, somehow in connection with quantum mechanics.
SERIES
BONES OF LIGHT
The Bones of Light series takes its name from the homonymous artist’s installation, exhibited in the spaces of L’Ascensore in Palermo. The works develop around the stroke, amplified by refracting light in the abrasions and grooves engraved with electric grinders on metal surfaces.
Metal, with its natural quality of reflecting and refracting light, becomes a living medium, emphasized by the thin glazings of oil paint. Along with the stroke, the color is as if discovered: both emerge, revealing themselves during the creative process.
Each engraving is the result of an instinctive gesture, at times ritualistic, brings the creative act closer to a zen meditative state, defined as Mushin (absence of mind). In this state, the artist works with such automatic transport that he often engraves with his eyes closed, letting the work emerge spontaneously.
A distinctive feature of the series is its kinetic effect: the engraved strokes, interacting with light and the viewer’s movement, generate a dynamic and immersive experience and an iridescent abstraction characterized by the light conditions. The effect is like an electronic display, but with a strangely archaic aura. The engravings, extended over the entire surface of the works, appear like holograms, evoking energy flows or ancient primitive signs, almost suggesting something of original, a primordial visual language, somehow in connection with quantum mechanics.
SERIES
I LIBRI DELLA TRASMIGRAZIONE
(THE BOOKS OF TRANSMIGRATION)
“I Libri della Trasmigrazione” is a series of artist’s books begun in 2017, representing not only one of the artist’s most representative works, but also the main space in which his pictorial language has been developed in the latest years.
The works are primarily painterly; bright tones, dense with contrasts and depth, create a visual and immersive experience, punctuated by changes of atmosphere between pages, in which color and stroke, play a symbolic role, intermittent to the use of the “word,” that is emphasized and veiled in all works with the Braille alphabet. The poetic use of the Braille alphabet is a distinctive feature of the series, employed not only as a means of creating an inclusive dialogue with a visually impaired audience, but also as a metaphor for another, deeper mode of perception.
The series draws inspiration from the Pythagorean concept of metempsychosis (from the Greek μετεμψύχωσις), and aims to create an imaginative narration, evoking the abstraction of the soul’s passage from one body to another, between lives and states of existence. The spiritual and conceptual dimension of transmigration can be perceived from the titles of the works in this series, including the diptych “Il Libro della Madre” (The Book of the Mother) and ” Il Libro della Padre” (The Book of the Father), which has already been exhibited in the Bangladesh National Pavilion’s for the exhibition “Time: Mask and Unmask” at the 59th International Art Exhibition, La Biennale di Venezia.
In addition to Il Libro della Madre and Il Libro del Padre, to date, the series includes hundreds of studies between oils on canvas or metal, a collection of engravings on PVC, already acquired in the collection of artist’s books of the Academy of Fine Arts in Palermo, and finally two artist’s books in progress, “Il Libro dei Nomi” (The Book of the Names) and “Il Libro del Cielo” (The Book of the Sky), in which the pictorial language is enriched by the peculiarity of the chosen materials (metal sheets and gelatine sheets), which characterize a special optical illusion of light projections. In those works, the lyricism of braille is more emphasized, and determines its symbolic value.
SERIES
I LIBRI DELLA TRASMIGRAZIONE
(THE BOOKS OF TRANSMIGRATION)
“I Libri della Trasmigrazione” is a series of artist’s books begun in 2017, representing not only one of the artist’s most representative works, but also the main space in which his pictorial language has been developed in the latest years.
The works are primarily painterly; bright tones, dense with contrasts and depth, create a visual and immersive experience, punctuated by changes of atmosphere between pages, in which color and stroke, play a symbolic role, intermittent to the use of the “word,” that is emphasized and veiled in all works with the Braille alphabet. The poetic use of the Braille alphabet is a distinctive feature of the series, employed not only as a means of creating an inclusive dialogue with a visually impaired audience, but also as a metaphor for another, deeper mode of perception.
The series draws inspiration from the Pythagorean concept of metempsychosis (from the Greek μετεμψύχωσις), and aims to create an imaginative narration, evoking the abstraction of the soul’s passage from one body to another, between lives and states of existence. The spiritual and conceptual dimension of transmigration can be perceived from the titles of the works in this series, including the diptych “Il Libro della Madre” (The Book of the Mother) and ” Il Libro della Padre” (The Book of the Father), which has already been exhibited in the Bangladesh National Pavilion’s for the exhibition “Time: Mask and Unmask” at the 59th International Art Exhibition, La Biennale di Venezia.
In addition to Il Libro della Madre and Il Libro del Padre, to date, the series includes hundreds of studies between oils on canvas or metal, a collection of engravings on PVC, already acquired in the collection of artist’s books of the Academy of Fine Arts in Palermo, and finally two artist’s books in progress, “Il Libro dei Nomi” (The Book of the Names) and “Il Libro del Cielo” (The Book of the Sky), in which the pictorial language is enriched by the peculiarity of the chosen materials (metal sheets and gelatine sheets), which characterize a special optical illusion of light projections. In those works, the lyricism of braille is more emphasized, and determines its symbolic value.
SERIES
THE RISING
“In the works of The Rising, the evocative power of animal skin brings the engraving by means of grinders to a performative level, establishing a tension that results in a transfert between two bodies, or forms, that of the animal and mine “
[…] My graphic language is characterized by the use of electric grinders. I would say, my stroke is amplified by the electricity channeled into my wrist. The sign therefore, occurs by subtraction of matter by means of mechanical abrasions, a “dematerialization” in the surface, in which “events” happen and are defined.
The first time I etched an “electric sign” on a surface was accidental, on a calfskin that had been hanging in the studio for months. I really didn’t know what to do with it, and I felt a great sense of responsibility; it was the leather of a skinned body, hanging in the wall, intense with drama and tension.
So, caught up in a sudden rage, my eyes fell on a grinder, and as if in an inspired flow, the shot went off: a mark that had the force of a symbol – so refined and blurry at the same time – that it looked like a hologram in and out of the surface of that skin, a revelation. A liberating expression that I felt cathartic both for me and for the memory about the animal.
So I began the series The Rising, a long cycle of works on leather, of which the creative processes, were catalysts for a personal growth experience (in which I also stopped eating meat). […]
SERIES
THE RISING
“In the works of The Rising, the evocative power of animal skin brings the engraving by means of grinders to a performative level, establishing a tension that results in a transfert between two bodies, or forms, that of the animal and mine “
[…] My graphic language is characterized by the use of electric grinders. I would say, my stroke is amplified by the electricity channeled into my wrist. The sign therefore, occurs by subtraction of matter by means of mechanical abrasions, a “dematerialization” in the surface, in which “events” happen and are defined.
The first time I etched an “electric sign” on a surface was accidental, on a calfskin that had been hanging in the studio for months. I really didn’t know what to do with it, and I felt a great sense of responsibility; it was the leather of a skinned body, hanging in the wall, intense with drama and tension.
So, caught up in a sudden rage, my eyes fell on a grinder, and as if in an inspired flow, the shot went off: a mark that had the force of a symbol – so refined and blurry at the same time – that it looked like a hologram in and out of the surface of that skin, a revelation. A liberating expression that I felt cathartic both for me and for the memory about the animal.
So I began the series The Rising, a long cycle of works on leather, of which the creative processes, were catalysts for a personal growth experience (in which I also stopped eating meat). […]
PAINTINGS
