Understanding is brought about by the
fusion in a single common structure of various and different data. A single
element reflects all and is key to everything. Simple multiplicity is chaos.
An intuition, a single model can offer order to this chaos and make it
intelligible. We tend to move towards unity every time we strive to give a
meaning to our life. We learned that everything can be understood in its
similarity and its diversity. Canons followed by truth-seekers, whether they
are artists or scientists, are apt to give a description of what transforms
differences into similarities, and this is akin to what makes similar
different.
To begin with there is a necessity to experiment with everithing that belongs to pottery. The artist begins a step-by-step process that eventually leads to a choice between decoration and pure shape. Pottery has a buiit-in contradiction which is not easily solved. It is then necessary to approach creation without falling into the trap of cheap suggestions. Shape has a rigour of itself: it is the metaphysical expression of the interaction between thought and space, whereas colour represents the joyful emotion radiating from substance when it claims its role as a prevailing element. Subsatnce can be perceived as playful and skin-deep when it is confined to pure didactic experimentation. On the other hand, it is possible to reach its deeper and obscure nature and discover analogies which bring about existential considerations.
I rather prefer shapes characterized by larged mobile surfaces, a sort of tectonis produced by rotation and translation of modifyng surfaces. By destroying the pristine, original shape via 'cuts' and 'push' the substance's inner materiai is exposed by an irresistible force. This orderly stretching is the result of the creative effort while it is performed, should unforeseen developments take place in the processes. Within this framework it is possible to understand how a work of art, such as a sculpture, can be conceived along the same lines as those of an industrial product which is manufactured for a specific purpose, because each step of production can be checked at any given time.
Besides, these principles are not unknown to the dynamics of architectural design and even to the feed-back process typical of social systems' control. The origin of the shape becomes easily perceivable, and this latter, in its dynamics, can evolve by means of extreme solutions or, rather, implode to the point of self-dissolution of its potentialities. The use of movement can shrink the function of colour so as to transform its meaning to a small, almost non-existent reference. This happens when colour is localized, in the interaction of shapes, not as a result of mere skill, but as a complement of the mixture transforming itself into shape of the shape, to enhance, and never to deny the importance of the surface on which il plays.
The above lines represent the desire to express in rational terms the technical-formal choices of my artistic production, though they do not claim fully convev its poetical inspiration. If I do not try to offer a thorough clarification is because I do believe creativity has more to do with emotions than with any rational motivation and it serves no purpose to delve in explanations. On the other hand, I am afraid to make use of highbrow language likely to employ 'isms' more often than useful and to turn to philosophical concepts as it is the custom among art critics. I am proud to say that I do my work with a profound feeling of satisfaction, which might be unknown to the artist who deals exclusively with 'conceptual art', but so much familiar to the craftsman who deeply feels that among his most treasured rules of art ist to be found the encounter between substance and spirit.
