Ruins – Concept Opera
Talking about the end of the world doesn’t mean imagining a new planet instead of the present one, but a new people who will inhabit it in the near future. A people who will believe in the world and who will have to live in it by building with what we leave them. The people who comes will need to inhabit the ruins of past lives and learn how to rethink them in order to propel, these ruins, into the future. These sculptural microspaces lay the grounds for the creation of an imaginary built around the concept of ruin. The abandoned materials show their stories in an architectural assemblage left occupied by plants
Monsters from the Deep Earth – Concept Opera
Painting has followed the flow of a reflection on our way of be-in-the-world during this moment, in which the walls of the house have become real confines, while the world outside the window tends towards regeneration. The painting, in fact, re-elaborates the memory of a marshy pond, the last fragment of nature that I’ve experienced before the beginning of the restrictive measures against Covid-19.
At a time in which the intimate space of the house is now an adversary and the perception of time is becoming more and more an alienation, painting has been my daily ritual to react by inscribing my every action in a temporal flow that is not accelerated, but synchronous to the world. The swamp is the symbol of this synchrony, where everything seems motionless because it happens outside of human time. An apparent staticity in which hides a complex ecosystem that continuously regenerates death with life. A space where the earth is deep and the hybridization is necessary. A habitat suitable for the Chthonic creatures that D. Haraway tells us about in Chthulucene. Ancient “monsters”, interspecies hybrids carrying a different way of being at the world; now more useful than ever.