Defining one’s own vocabulary and trying to explain it to others

 I will write as truly as I can from experience, actual individual experience, not from book-knowledge. 

(from Samuel T. Coleridge’s “Diaries 1794-1819”)

 
 
In this glossary I have chosen the key words that are part of my written and spoken jargon. I have gathered together expressions that I have invented, words that require an explanation and words that, even if they are well known, I have redefined because in my world they have taken on a different meaning. Some are titles of works or chapters on the site, while others are expressions that appear in my perceptions or ideas.
Together, these 33 words are interconnected and help to create a micro-synthesis that defines my system. I have tried to give each one as concise a definition as possible, hoping that in this way it can also become a useful navigation tool for those coming to my work for the first time.



ACCELERATION
The painting that contains a sort of breathlessness, an alteration of the rhythm, which contains the variation of the speed with which the colour is usually formed every day.
 
ARCHIVEARCHIVE
This is what we usually call an archive, or rather the entire collection of digital and real material that create the documentation of the work and my professional activity. It is the place that acts as the guarantor of the work and which defines its statute. It is an organism which produces documents maintaining the memory of it and which through the definition, organisation and connection of the material produced transforms the body of the work into a total vision. It is the principle through which one can affirm that paradoxically it is more important to keep the history of the work alive rather than the work itself.
 
ARCHIVER
Container which collects, conserves, organises and in a certain sense sacralises all the substance that has come out of me without premeditation over the years. Each single archiver has its own logic and precise form and is part of a whole which creates a general system of archiving.
 
ARCHIVES-WORK
This term indicates all those works that contain the very process of cataloguing or archiving as a creative act and which together go on to form a sort of unique living organism. 
 
BOWL
The palette where I create one colour a day, the place where I construct my language as a painter.
 
COLOUR
Substance that emotivity is made of, my interiority which is explicated through paint.
The colour happens, it is not provoked. You can’t talk about it; you can only let it exist as it is.
 
CORE SAMPLES
Sedimentation of colour formed over time brought to light via a stratigraphic test well.
 
BODY
Tool for understanding the world and simultaneously a device for leaving an imprint of one’s own passage on this earth.
 
DEVIATION
A form generated by an incoherent impulse, which comes from me contradicting myself, from having betrayed my system, from having disobeyed myself.
 
DIARY
Page on which to record the trace of my existence day by day. Surface on which everything is kept and shown without discarding anything.
 
DIARYTHEQUE
Container for the colour diaries which makes visible the transformation over time and offers itself as the space where the entire period of a life can be represented.
 
DOCUMENT-DOCUMENT
Certificate of the actions connected to the artistic work.
 
DOCUMENT-WORK
This term indicates all those entities which emerge both as a form of documentation (effective documents of a story that has been made, generally in photographic or graphic panel form), but which take on the statute of work within the body of my work.
 
EXPANSITE
An extension of the “Mindsite” which expands from the virtual space and concretely enters the physical one.
 
GEMMATION
A concretion of painterly substance, like an excrescence of the “Infinite Painting” that starts again and ends every time on a minimal canvas.
 
GESTUREPLACE
Placed in the space of the studio where the painterly gesture is reiterated every day through a rigorous repetition and a certain rituality.
 
INFINITE PAINTING
Agglomerate of pictorial substance begun a long time ago and never finished that contains all the colours that have been created in the bowl over the years, hiding them all.
 
INTERPRETATION
This is a space dedicated to reading the work
The ‘Interpretation’ contained is made public by ‘An Archive of Time’, composed of the ‘Self-portrait’ (a self-representation that the artist has made of herself and her work) and the ‘Portrait’ (various interpretations that others have given to all this mass of things).
 
MINDSITE
Space on the web that I have created to think about and visualise what my mind imagines; a space where I can insert my intimacy in the world and seek an interlocutor.
 
OBSESSION
Behaviour thanks to which the entire complex system of my work can continue to exist with precision, insistence and resistance.
 
OSTENSION
The ‘Sedimentations, the ‘Diaries’ and the ‘Infinite Painting’ are first shown and are then put back. The ‘Display’ is the exhibitive form that opens and makes visible all of the subjectivity that has slowly taken shape over the years. It is the trace of individual existence, expressed through the materiality of the colour that comes out of the structures in which it is kept, to then develop in its entirety, spreading out in the space and opening up to others before finally returning to the intimacy of their containers.
 
OUTSIDE
The space there in the world, outside my self-contained universe, where I take my interiority to place it empathetically alongside something that is different from me.
 
PAINTING
The act of touching a two-dimensional surface with a fluid substance. A manifestation of will that men and women have carried out before, continue simultaneously with me and will continue to do forever, even after me.
 
PORTRAIT
Interpretation that others have of me.
 
PROCESS
The pathway taken within one’s own artistic discourse and which is more important than the form that is created. The transformation that is highlighted is more important than the stillness of reaching a definitive work.
 
RED
Colour I identify with and that I start every painting with.
 
RELATING
Paintings that arise from being placed next to another painting, which happen when the palette leaves its interior progression to open up to a relationship with someone else’s colours.
 
RESIDUE
The residual substance that is formed around the point where the painterly gesture is concentrated and which determines the central work.
 
SEDIMENTARY
Archiver and at the same time a production place and storeroom. On one side the wall on which I paint every single “Sedimentation” and on the other the space in which the paintings that enter and exit my studio are kept.
 
SEDIMENTATION
A painting made of layers of colour superimposed consequentially that is interrupted arbitrarily on a certain colour. The process is continued in the next painting, activating on the one hand a linear and potentially infinite continuation and on the other a circular rhythm which, always starting from the same point – each canvas starts with red – returns cyclically to itself. The final image of each “Sedimentation” contains the development of its story in the top strip.
 
SELFPORTRAIT
Self-representation to explain myself to others.
 
SHARING
Situation for which the individual subjectivity is placed in relation to those different from one’s own, in which my diary, my colours, are brought closer to those of others. It is the moment when connecting myself to the other, mixing with other people, I remove the sense of solitude and exceptionality.
 
SHOT
The daily photo I take on the canal bank next to my studio, from a place where the rise and ebb of the tide is clear.
 
SLUDGE
A greyish substance that has formed in the bottom of the brush-holder over the years.
 
STAND-IN
The double of the “Infinite Painting”, part of the Substitute system.
 
STUDIO
My home, my world, the place where I live, where I explicate my daily actions and where I welcome those who want to approach me.
 
SUBSTITUTE
A double of the “Gestureplace” which makes the continuation of painting even when out of the studio possible and simultaneously removes the centrality and uniqueness of my gesture.
 
SUBSTIT-ISSUE
Filiation of the “Substitute” which holds within it the painterly “Sedimentation” and the image of the imprint where it was generated.
 
SUPERARCHIVE
The ‘Superarchive’ is the whole archive, the one that contains all the others. It is an archiving system in which the ‘Document-Document’ (the certificate of a professional action), the ‘Document-Work’ (the document of a story that has been made, generally in photographic or graphic panel form), the ‘Work-Document’ (work-trace, work-imprint and work-cataloguer which shows and records the existential passage of this earth substantially through a tracing of colours) and the ‘Interpretation’ of the work are all placed on the same level, defining in their entirety an organic complexity of things.
 
TIME
Dimension constituted by the coexistence of two perceptions: linear and cyclical. By uninterrupted time which determines the existence one day after another to the repetitive one fixed by the rituality of doing. It is inside this entity that the extension of life unfolds through the concretisation of the substance-colour.
 
WORK-DOCUMENT
This is a term to explain all those works which take the form of a testimony. Works-traces, works-imprints and works-cataloguers that document and record the existential passage on this earth substantially through a tracing of colours.
 
(Written in 2020. Modified in 2022)