Art is to love reality!
This statement is embodied by my Communicating Artistic Organisms (CAO), guardians of the idea that art is a process closely linked to life as its raw material.
Departing from conventional grammar, these devices are not simple works to contemplate; they lack a fixed and finished form, resembling instead a constantly evolving ‘cosmic-fabric-weave‘ made up of metallic and organic pigments undergoing continuous changes through chemical reactions, fermentations, chromatic alterations, and decay.
By inducing a rapid alchemical process of decay and ruin to their existence, I apply a temporal patina to my devices that engages with the dynamic ecosystem we are a part of with our humanity.
Drawing on philosopher Bruno Latour’s reflections on hybrid structures, once the stable value of form is consumed, the artistic work becomes a transparent passage and, consequently, no longer functions as a model in itself but as a communicating device seeking to reestablish a complex symmetry between the artist and the other, between culture and nature.
Through the concept of ruin as a creative mechanism, two distinctive forces described by sociologist Georg Simmel emerge within the same devices: the heaviness of matter and the spirit of nature.
These forces converge, creating an ‘aesthetic-of-convergence‘ unit invested with a new ethical meaning that generates multiple layers and different regions of a polysemic universe of fluctuating meanings; always evolving, inexhaustible, and untranslatable, involving an active and inclusive interpretative nature between artists and participants.
The active result of the artistic device detaches from static symbolic correspondences, becoming a true relational medium. Despite the lack of harmony, profound connections emerge for the viewer, engaging them in an authentic experience with their own body.
In the simultaneity of intuition and thought, dynamically shifting its boundaries within the device, the conflict between the downward force (of matter) and the upward force (of spirit), between purpose and accident, between aesthetic nature and ethical nature, between past and present, between what is no longer and what is not yet, never fully resolves. An unresolved coexistence is maintained, a deep tension between their oppositions, manifesting in a dense and permeable unity of the device that opposes the compact and structured unity that no form can ever achieve without opening to all antagonistic currents.
The convergence device CAO represents a process of reclaiming and resignifying the world, recognizing the interconnection between nature and culture. The pigments act as traces of a journey, reinterpreting concepts like transition and sunset without seeking aesthetic perfection but rather desiring to destroy the visible forms of a commodified culture.
Reflecting on Nietzsche’s notion of the greatness of man, the devices are considered as a bridge rather than an ultimate end. In a world losing substance and truth, it is necessary to have the courage to assert that the heart of art resides beyond contemporary fashions, escaping ephemeral pursuits.
Recognizing the interconnection between nature and culture, the convergence device becomes a fabric of unfinished experience. This process fuels the progressive acquisition of dissolution into the artifice of things, representing the outcome of the shift from abstract avant-garde exploration to a subjectivity in action reflected in things. Philosophy remains crucial for contemporary art, escaping illusion and fully experiencing emotions as events in the flow of experience.
