Interviews

Beatrice Buscaroli
Bologna, Vicenza, aprile-maggio 2011



Here we are talking about your work again six years after the project Ottantuno that you had already explicitly dedicated to the close relationship between the work and spirituality: a precise signal that is perhaps the central aspect of your research.


This is probably the case more now than then: I think that the more society moves away from its centre due to increased economic and existential difficulties, the more important this reference becomes, further evidence that contemporary art can address social issues from different angles.


It is not unusual that painting research, especially abstract, is combined with socially related aspects; indeed, this distance is often the thing being criticized in a certain kind of artistic exploration, considered not particularly current, with no sense of history and therefore marginalized in the contemporary debate.


I think it can also be clarified by the thought of the French philosopher Alain Finkielkraut who, in his book An Intelligent Heart, says a simple thing that can be easily shared: “Laughter has become the soundtrack of the world.” And he says it pointing out the widespread intention of the desacralization of thought, of its reduction to a joke, inasmuch as it is not subject to any investigation, mockery replaces reflection, mediocre superficiality replaces quality of research, a sense of measure, of meaning. We are seeing a true straying, which can be counteracted by reflection on spirituality, also triggered by painting. I think this is how the artist’s social role is reaffirmed and there is a real possibility of influencing the contemporary world. It is worth mentioning that included in the exhibit is the phrase used by Mark Rothko, who said that “Pictures must be miraculous”.


Alchemica moves in this direction then. It’s a new project. From what does it stem exactly?


The internal reasons are the same as those described in Ottantuno, but here the pictorial intent is more intense, more explicit in certain passages, the theme more pressing, also conveyed by the use of the new colour that characterizes all the works: the alchemical magenta, to be precise.