READ THE CRITICAL TEXT: Art is Loving the Mistake by Roberta Melasecca
SCROLL DOWN to explore a brief introduction to each artistic device created by Sergio Mario Illuminato
MILIEU
(286x184x05) gold leaves, organic pigments on canvas with plasters
and early 20th century electric meter
The artistic device ‘Milieu’ presents a layered composition where natural and industrial materials interact. On the left, a golden bubble stands out against a dark, matte background, contrasting with the right side, which is brighter and more fragmented. This duality creates a tension between two worlds: a closed, enigmatic one symbolized by the golden bubble, and an open, chaotic one, made of light plaster fragments and organic pigments, evoking rupture and renewal. The early-century electric meter, positioned among the fragments, becomes a symbol of temporality and memory, as if recording the passage of time and accumulated stories. The arrangement of materials and their heterogeneity construct a “milieu”—a context that gathers traces of history, life, and transformation. The golden bubble represents stability and value in a shifting and complex landscape. The contrasting textures and color range, from gold to gray and purple, create a visual depth that invites reflection on the perception of space and time. ‘Milieu’ explores the relationship between humans and their environment, weaving together natural and industrial elements, past and present, in a visual ecosystem that reflects the complexity of human experience.
PHLOEM
(80x100x05) organic pigments on burnt canvas
Observing ‘Floema,’ a complex structure emerges with a texture reminiscent of organic surfaces, like bark or tissue traversed by time. Thin vertical lines suggest a downward movement, evoking the flow of vital sap that nourishes and connects every part of the plant. The earthy tones and dark shades allude to the naturalness and decay of matter, almost as if the canvas itself were an organism in transformation. Soft shadows and light confer depth and mystery, echoing the essence of “phloem” as a hidden vital connection. ‘Floema’ seems to emphasize a duality: on one hand, the life force that phloem represents; on the other, the vulnerability of organic matter marked by time. This artistic device appears as an ode to fragility and resilience, reminding us that, even in the harshest conditions, there exists an invisible flow that sustains the connection between elements.
EXHAUSTED SILENCE FROM COOKING
(80x100x05) extracted from live oxidized iron deposited naturally on canvas
Observing Exhausted Silence from Cooking, a texture emerges that recalls surfaces worn and marked by time, as if they had undergone a long and intense process. The brownish hues and smoky tones retain the residual heat of a transformation now complete, where each layer of color tells the story of the passage of time and matter. The title evokes an “exhausted silence,” as if the work itself were the result of a deep and irreversible process of change. The irregular marks, rough grain, and muted tones suggest a dormant energy, conveying a melancholic peace that arises from the exhaustion of a cycle. “Cooking” here becomes a metaphor for consumed experiences, leaving behind a quiet, dense with memory and lived moments.
BAD INFINITY
(70x100x05) organic pigments on canvas
In Bad Infinite, the title evokes the idea of an endless cycle, an unresolved and oppressive persistence. The word “bad” suggests a growing tension that prevents a peaceful conclusion, making the infinite suffocating rather than liberating. The blue tones and areas chaotically layered together recall disorder and fragmentation, with layers of blue and ochre in constant conflict, like opposing forces that never find balance. The darker areas, almost erased, create a sense of infinite depth, a shift between the visible and invisible, clarity and darkness. The composition represents an inner tension, an emotional cycle that repeats without resolution, leaving the viewer suspended between attraction and unease.
METAMORPHOSIS
(70x100x05) organic pigments on canvas
In Metamorphosis, there is a sense of continuously shifting energy, conveyed through a blend of deep blues, aqua greens, and delicate touches of golden yellow that gently emerge from the surface. The color combination evokes fluidity, as if the matter is in transition, ready to transform. The warm tones emerging from the blue suggest regenerative potential, while the layered texture gives the impression of an ongoing evolution, with traces of past phases merging into the present. The bright areas surface from the background, symbolizing an inner metamorphosis that emerges slowly. The artistic device reflects the tension between stability and change: the cool colors stabilize, while the golden details express an energy that disrupts balance, propelling transformation. Metamorphosis invites us to look beyond appearances and recognize the hidden potential, embracing change as a vital essence.
PROHIBITION OF FISSION
(70x120x05) metallic pigments and egg white on canvas
In No Fission, the title evokes a limit, a prohibition against the splitting of an entity. The “fission,” here halted, recalls the idea of an energetic division, typical of nuclear physics, but the process is stopped, as if a mysterious and integral force must remain undivided. The green and earthy tones refer to corrosion and the patina of time, giving the work a worn, almost deteriorated appearance from a force that has acted continuously. At the center, a kind of label or mark creates a point of contrast, like a warning sign, a boundary not to be crossed. The rough texture and the use of color suggest a forced integrity, a resistance to fragmentation. No Fission thus reflects the desire to preserve an essential core, an identity that opposes separation and wear.
ENANTIODROMY
(70x100x05) metallic and organic pigments on canvas
Enantiodromia is a term derived from the philosophy of Heraclitus and later from the psychology of Carl Jung. It refers to the tendency of things to transform into their opposite, a phenomenon of dynamic equilibrium in which an excess in one direction inevitably leads to its opposite, giving rise to a perpetual cycle of change. The artistic device develops through a layering of green, turquoise, and purple colors, which merge and contrast simultaneously. The surface of the painting appears restless, almost pulsating, as if there were an internal tension pushing in opposite directions. This chromatic combination could represent the meeting of antagonistic forces, each striving to prevail without ever truly overpowering the other. The texture evokes the concept of constant transformation: the overlapping shades suggest a visual dialogue between opposites, where each color evolves toward a new hue, creating an effect of transition and fusion. In Enantiodromia, the duality is never resolved, but rather embraced, offering a visual representation of the concept of dynamic equilibrium and the natural alternation between order and chaos, light and shadow, stillness and movement.
COLLISION
(50x70x05) gauze and organic pigments on canvas, soaked in putrid sewage and necrosis
The artistic device Collision seems to represent the dynamic encounter of contrasting elements through a weave of vibrant colors and overlapping textures. The dominant tones of green and blue, evoking natural elements like vegetation and water, convey a sense of vitality and primal force, suggesting that the collision is not just an act of destruction, but a creative energy that regenerates and gives life. The brushstrokes appear layered, with vertical and horizontal strokes creating an irregular grid, symbolizing a fragile order emerging from chaos. The structure of the grid itself is interrupted by splashes and gradients that expand and blend, as if the lines were attempting to contain the explosive energy of color, yet without fully succeeding. This artistic device can be interpreted as a representation of the tension between structure and freedom, between order and disorder. Each area of the canvas becomes a micro-collision of tones and shapes, where light and shadow confront and merge. Collision invites the viewer to reflect on how, in the confrontation between opposing elements, new balances and possibilities for growth are created, suggesting that every clash brings with it not only destruction, but also the promise of renewal.
THE FOUR SEASONS OF THE PRESENT
(70x100x05) organic pigments on canvas
The artistic device The Four Seasons of the Present evokes a continuous and changing cycle of transformation and rebirth through a harmony of colors and textures arranged in a grid that resembles a window divided into four sections. Each quadrant represents a part of the seasonal cycle, but placed within a “present” context, suggesting that natural changes are also reflected in our current and immediate perception of the world. The primary tones range from soft blue to green, enriched by splashes of intense pink and red, evoking the image of leaves, fruits, and flowers that bloom and wither. These splashes of color are arranged irregularly and almost seem to float on the surface, like fragments of an organic and fragmented landscape. The grid structure, with a central green cross, seems to contain these vital energies while simultaneously emphasizing their dynamic and ongoing transformation. The imperfections, details, and shades within each quadrant represent the complexity and ephemeral beauty of each season, suggesting that the “present” is a fluid concept, made up of moments in constant flux. The Four Seasons of the Present invites the observer to reflect on the cyclical nature of time and the ability of nature to regenerate, also reminding us of the fragility and beauty of our temporary existence.
MODERN
(70x120x05) iron, glass and organic pigments on board
The artistic piece Moderna evokes a sense of calm and spatiality, with a background dominated by a soft, fading shade of blue. The surface is marked by slight imperfections, reliefs, and small traces that seem to represent fragments of memory or signs of the passage of time. These material details emerge from the canvas like light imprints, floating in an undefined space, creating a sense of suspension. The elements present are small and delicate, almost imperceptible, yet each seems to have its own meaning and place in this minimalist composition. Some blurred white points, along with gentle ripples, evoke galaxies or constellations, as though the viewer were observing a night sky through a fogged lens or a seabed explored in half-light. This sensation of vastness and isolation invites reflection, suggesting an inner journey or contemplation of the passing of time. Moderna seems to speak of a fragmented and silent modernity, where every mark represents an untold story, a lost or left-behind moment. With its discreet style and barely visible traces, the artistic piece invites the viewer to discover the value of simplicity and silence, offering a meditative space that stimulates reflection on the human condition in an increasingly complex and fast-paced world.
REDROME
(40x120x05) cement and organic pigments on canvas
The artistic device RossoRoma presents itself as a pulsating expanse of intense, vivid, and deep red. The surface is marked by an irregular texture, with small abrasions and peeling areas revealing underlying layers. These variations in color and material break the uniformity of the red, creating an effect of wear and age that evokes the patina of time. The dominant red immediately recalls the typical colors of Rome’s architecture, evoking the ancient walls and the marks left by centuries on the Eternal City. The cracks and areas where gray emerges give the painting a tactile, almost three-dimensional quality, inviting the viewer to imagine the stories hidden behind these corroded surfaces. The work seems to tell the beauty of decay, the aesthetics of deterioration and layering, symbolizing a Rome in constant transformation, yet always anchored to its past. RossoRoma appears as a fragment of the city itself, a detail that takes the viewer on a visual journey through the collective memory, where each mark represents an era, an event, a life lived. The red, therefore, becomes not only a color but a symbol of the passion, strength, and resilience of a city that continues to regenerate despite the passage of time. In RossoRoma, there is a latent, almost subterranean energy that pulses beneath the surface, making the work a powerful representation of Rome itself: eternal, intense, and yet vulnerable.
SYNÉCHEIN
(120×70) wax crayons on canvas
Synéchein is an artistic device that explores the idea of connection and continuity, themes that emerge from the layered texture and fluid composition of the painting. The central figure, barely outlined, seems to evoke an ethereal presence, an entity suspended between light and shadow, between definition and dissolution. The form, resembling a human figure yet ambiguous, is enveloped in an aura of soft, blended colors ranging from deep blues to pale yellows, with touches of orange and gray. The title Synéchein, which in Greek means “to hold together,” reflects the essence of the artistic device, where visual elements appear to intertwine and merge with one another. The colors and textures are not rigidly separated but blend, creating a visual continuum that mirrors the complexity of human experience and the nature of existence itself: a constant tension between cohesion and fragmentation. This indistinct, almost fading figure could represent the human spirit, an essence striving to maintain form and identity despite the fluidity and transience of the surrounding environment. It is as if the artistic device captures a moment of transition, an instant where something defined is about to slip away or something new is about to emerge. Synéchein invites the viewer to reflect on their perception of reality, challenging the boundaries between the physical and the metaphysical, between the visible and the invisible. The intense texture and delicate color choices create a contemplative atmosphere, where the gaze is constantly lost and found again, symbolizing the human attempt to understand and “hold together” the fragmented parts of one’s existence.
ENTER OUT EXIT INSIDE
(70×100) graphite and wax crayons on paper
The artistic device Entrare fuori uscire dentro presents itself as an intricate weave of lines and layers of color that create a complex visual fabric. The dominant tones—red, orange, yellow, and touches of black—overlap, giving rise to a sense of chaotic yet structured movement. The brushstrokes and lines seem to outline an undefined path, a labyrinth that guides the viewer’s eye to lose itself and then find itself in a continuous spatial exploration. The very title, Entrare fuori uscire dentro (Enter, Exit, Go Inside), evokes a play of opposites, suggesting a reflection on the interior and exterior aspects of being. The dark lines and emerging shadows appear to trace boundaries that are constantly crossed and questioned. The work represents a kind of inner journey, a fluid passage between what is inside and what is outside, in a cycle that repeats and renews itself. The layering of colors and lines suggests a stratified vision of reality, in which every level of human experience is connected to the others in an uninterrupted flow. The color choices—with warm and intense tones—invoke deep emotions such as passion, conflict, and tension, creating an emotionally dense atmosphere. Entrare fuori uscire dentro seems to pose an existential question: where does the interiority end, and where does exteriority begin? It is an artistic device that invites the observer to reflect on personal boundaries, on the cycles of opening and closing to the world, and how these movements can shape our identity. The device was created by the artist blindfolded during a performance.