by Prof. Anna Brancolini

Still the usual humble and daily materials, rich in the taste and smell of a past filtered through the memorial recovery; still the tears on the jute, a metaphor, perhaps, of the lacerations of existence or of hoped and dreamed passages towards an indistinct elsewhere; still those openings in the wire mesh, which project us on this side and beyond the spatial plane of the work, towards the whirlpool of the abyss or a point of salvation.But the artistic research now goes beyond the concept of threshold and overcomes the ambiguous dialectic between order and chaos and between constraint and freedom on which the previous works lingered, meticulous.

In this way a new dialogue is established with the material and the color: refined, the first one, for its different tactility and caressed or scratched as to satisfy the different motions of the soul; the more varied, multifaceted and chiaroscuro the latter, capable of evoking indistinct forms, tremulous horizons or mute presences, almost ghosts torn to a distant dimension, while surfaces quiver with emotional beats or elusive vibrations and the Byzantine glow of gold seem to suggest intercultural trajectories and a renewed dialectic between the sacred and the profane.

Network and jute therefore, in the latest works, are set as a background, even with their strong symbologies; and the research focuses on the infinite plasticity of those sands, those lumps of cement and those acrylic pastes that give body and volume to surfaces and draw multiple dynamic and spatial trajectories, with their scratches, their signs, their imperceptible games of full and empty that seem to hide in itself, filtered by fleeting memories, naturalistic elements: the sand dunes, the plowed or uncultivated fields, the waves of the sea, the clouds of the sky; elements stopped as in blurry snapshots and recreated through new spatial concepts that transport them to another, almost metaphysical dimension; so that the works become an investigation of the absolute space, internal and external, and each referent, of any sign or nature, dissolves and evaporates.

If sometimes shapes appear - mute presences or phantom ghosts, as I said above - these have the contours of the dream and the indistinct. Presences and phantasms of the soul, no doubt, capable of bringing any lived experience or figural element back to an essential, abstract and allusive language.
Even color, this color that now seeks intense blues, blood reds and, above all, the brightness of gold, helps to sublimate every naturalistic echo, every beat of historical time and every fragment of geographical space in an all-encompassing dimension. beyond space and time; and in this complex, apparently simple and minimal whole, different cultural and artistic suggestions dialogue and evocative evocations are evoked the preciousness of the Ravenna and Oriental mosaics, whose exquisitely Byzantine features, with their taste of refined detail and their suspended atmosphere, they are mediated with the deep, variegated and free vibrations of the soul that faces the mystery of the ego and of the universe that the ego contains and justifies. So in these surfaces we perceive a new sacredness: that of our most hidden intimacy and, at the same time, of the cosmic breath that surrounds us, of the infinite space that gives us life, of that continuum that reabsorbs every diversity and makes a small one splinter facing the mystery: a thin but precious trace left by the man of his presence on this earth.

Pistoia, July 2018