COMPRESSING
EVERYTHING INTO A SINGLE POINT: BETWEEN THE BOWL AND THE WEBSITE
"Writing must be a centralising, not a decentralising; stylising, so that we never repress the burst of life. And yet why would we want to repress it?"
(from Carlo Cecchi’s notebooks, July 1913 - September 1917)
From the “Bowl” to the “Site”, via all the other forms of archiving.
The colour expression of my own emotivity emerges from the body to create the tracks of an existential pathway. Generating fluidly and freely through the bowl-palette, they become a physical substance on the painted surfaces. Slowly, over time, with no premeditated plan, these are then organised into archive-structures (the main ones are: “Diary Library”, “Infinite Painting”, “Sedimentary”) which contain them, categorise them and name them.
The macro structure that contains all these archivers is this site.
It is the recipient that every colour is poured into, but it is also the container in which all the thoughts that accompany the painterly process are formed and presented.
This chapter offers a summary of my universe through the description of the two works which have become the fulcrum of all my work.
I recomposed, composed, put together, abridged, combined, fused and refused, metabolising everything, all the elements that clarify my way of feeling things, my poetics.
At a certain point it was necessary to find the way of compressing, making concrete, cramming, coagulating, contracting, reducing and condensing the thinking which has taken shape over the years. The desire to simplify the complexity of things thus emerged.
I basically summed up my thoughts about the works, concentrating the actions that create my horizon in the works themselves:
1- Procrastinate the gesture
2- Form the substance colour
3- Leave a trace of my passing on this world
4- Archive the time.
5- Ruminating about one’s work
Two concave hemispheres, on the one side the bowl-palette and on the other the skull-site. There, in the middle, everything is done.
On the one hand the point where the colour is made concrete, where the work is carried out by habit, repetition, rituality. On the other, the point where the obsessive reflection around the work is done, where the story is articulated. At the centre, like a membrane that absorbs the experience from both parts is the painterly space that records the gesture and the thought.
I am unable to talk about this canvas, this work, I can’t do anything other than allow it to happen.
I would say that the logic of the site is in some way obsessive because it craves keeping everything together, searching for a logic and a thought in the complexity of things. The logic of the studio, of the practice itself, is light and pacifying, flowing smoothly, proceeding regularly, connecting me to a life cycle of things that continue regardless of me.
(Written in 2019. Modified in 2020)
