The Imprint of Time, from culture to nature in the dis-contemporaneity.
In my action, I first collect – layer by layer – dense, rough and irregular colored surfaces. In which the body of color is processed through heterogeneous techniques and materials – poor above all, recovery, worn out by use – modulating in the same space veils and large material congregations which, in some points, re-emerge almost to dilate the surface of the canvas.
My devices grow in sediment. These layers are within me. I am a sediment myself.
To then turn around and empty of content that I painted: carving, scratching, cutting, burning, wounding, piercing the material and the accumulated color.
In subtraction – as a gesture to reintegrate what has been lost with my psyche – I continue to explore intertwining, stumbling blocks, collisions of meaning and signs. In this way, to present a tactile-visual structure that marks on my body part – in the entire process of experience – the memory traces of the indefinable being of Time.
My artistic process is imbued with the re-flection on the nature of Time and its perception. I try to restore its visual form from a sequence of signs that seem to suspend, condense or lengthen its movement.
In order to indirectly measure the value of this invisible force, the experience of the “sculptural” transformations that its flow shapes on the face of the material and the “corporeality” of light it assumes in the colors experienced in the surfaces acquires primary importance for me. Thus the imprint of Time is captured in the forms of my artifact, originating from the materials and the process.
I fail all the time. Every part of the final device, every little element, every reflection exposes only in a fragmentary way that sort of invisibility of Time that only the “spect-actor” is able to complete – not necessarily immediately -, in an ever-present relational movement which concentrates its past and the future in itself.