Dear Betta,
it has been seven years already from the last rainforests, from Picasso’s atelier, from the flooded Victor Hugo stair, from Dannuzio’s Vittoriale monument, from their liquid portraits, still characterised by the blue, green, or magenta absolute monochrome. Since then something has changed, if it weren’t only because time has passed and since then I have developed new thoughts and solutions. This process has been gradual.
A first contributing factor was the need to change the palette, how they used to say in painting. Then paradoxically, at the end of 2007, an “interior” art installation presented at the “Cervelli in acqua” exhibit came into being, as well as a “scattering” video shown at the Premio Michetti.
In these works the studio-space was three-dimensional, but it possessed an angle an angle and atmosphere which came from painting and came back to painting.
I think about the studio-space as an historic and complex place, in it the extension of the artist, his activity, takes place metaphorically. At a psychological level it is the place of the fleeting concentration, it is where one gets in motion, where one goes beyond.
In my last art pieces the subject continues to be vaguely inspired by “archive” photos, but the main body of work happens through sedimentation.
The colour tends to manifest its material presence in its depth, at the same time it is a trace of a gesture, and also, it was becomes plausible for a perturbing event inside a painting. I think of it as something real…
Francesco
Rome, January 14, 2014