Impossible is not the adjoining of certain things, but the place itself where they could adjoin
Michel Foucault, Words and things
Why today, more than anytime, the human body configures a space of controversy: attention on one side, as attraction and routine body on the other side, as a thematic lacking profoundness? Why all the shops, mass-media, publicity are saturate with the image of the naked body or of the virtual nude? Why are there so many writers and artists who try to enter the subject depth for searching there, in denudation, a precious expression dike seeming lost in a symbolic lacking signification?
In a computer era, creation mystery is forced not only to gain new valences, but especially a totally different approach from tradition and/or currents. What puts today the body in the center of debate is not the fashion, but the reconfiguration gesture impetuosity of symbolist as interpretation. God is dead, or rather His dissolution announced by Nietzsches philosophy has not remained without consequences in ulterior philosophic and/or artistic debates. In its shadow, or rather in its train, the man itself as subject and implicitly as corporality has entered a shadow coin.
More than the death of God or rather in the train of this death and according to a deep correlation with it is what Nietzsche really enounced, is the end of Gods killer; is mans bursting into laughter and masks return, is the wasting of times implacable profound course by which the man felt carried and the pressure of which was guessed in the things being itself; it is the identity
between the Return of the Same and the absolute dissipation of the human. (Michael Foucault, Words and Things)
The human body has been reconsidered and reconstructed by art and literature, as it was restructured by science and engineering. Parts of the body are today dislocated from one man to another, the implant is a fashion appanage, and technique has become integrating part of the human organism as a substitute necessary to functionality. The human body became a real scarred and feudatory battlefield
The partial or total extrapolation technique of the body as subject-object succeeded in separating it, it seems definitively and irrevocably, from the Being as transcendence or bridge to transcendental, keeping only the sentence connotation of it as a subject. Caught within the existential degringolade, the human body perpetually enfolds on forms apparently modifying its statute and I say apparently if the appearance, in this conditions, replaces the evidence.
I am reporting myself to nudity as to a things state of facts, primordial and not necessarily pure; I find in nudity symbolism sufficient anchoring of own expression searches and not necessarily the certitude of a pre-established way. Obsession or not, I remain fascinated in my searches by female nudity as form and much more, thinking to Cioran I can affirm with him even if motivations are not identical, that I prefer women between men and women, as they have upon the first the advantage of being more unbalanced, so more complicated, more perspicacious and cynical, without speaking about mysterious superiority granted by a millenary slavery (Emil Cioran, Confession and anathemas).
But on the other hand, and without being a partisan of the feminist movement, I consider like Pascal Bruckner, that any man is a communication code between one or more women and there from the reason for which the woman, as corporal form, is rarely presented for a single time in my works. From here maybe the used representation technique: never in evidence, never as basis or conclusion but in color shadow, under and / or above a chromatic line approached as a game (chromatic background with wide touches, sticker in the form of a nude female, new layers of colors, de-collage).
I am not interested in the form itself but in what the revelation might hide, the beneath as retrieval in another chromatic aspect. At the limit of the form I thus provoke the meeting of two spaces old and new; under and above; closed and open; compact and rarefied etc. as non-contradictory duality and searching for its completion in complementarity.
We are the partisans of own projections from past and / or about future, tributary projections not so at the level of intellectual or educational level but compared to what we are leaving behind as a trace (to be understood as completion/ failure, etc.) or its lacking (to be understood as waived action). The past comes back as the Same but always as Another Interpretation.
I chose the female nudity as form purified from any intrinsic or explicit content and I tried to use its contour making abstraction of the entire arsenal of symbols more or less primate, more or less impious and / or mystic. Nothing is only what it is immediately seen, as evidence or visual impact, and work finality exceeds even for myself, the canvas margin both as frame or touch relief. I searched for expressing not certitudes, convictions or technical mastership, but interrogations addressed both to myself and to the looker.
The pictorial space generates a tectonic or plastic order whose equivalent cannot be supplied by any achievable connection in the real space. Organizing among them, sensitive components of pictorial space organize in the same time significations adhering to them, thus the formal consistency of the pictorial world becomes the support of a coherence of ideas and values.
The artworks performed represent the need of contemplating, as on a screen, what happens within the depth of my being, rationally and / or unworldly. I tried to offer to the viewer the freedom of finding himself in these images diversely, depending on his state of spirit, personal preferences or cultural luggage.