Asobi - Emptying # 1c
Digital Photography, Abstract informal, Digital, 90x60cm
"Asobi": playful shots between colours and visual experience
The images of the “Asobi” collection refer to the issue of the use of tools and techniques of human visual communication, the semiotic valences involved - indexes, icons, symbols - and the consequent philosophical problematization. The Artist renounces the use of concept of “sign” in symbolic meaning - where the symbol means the equivalence between sign and content or between image and definition – and this clearly opens the spectator to an "abstract" visual experience. This decisive option allows critical evaluation of the works by an indexical perspective - where the sign is intended as an indication of something else other than himself or inference - and then focus on the “movements” and references of these to "relevant contexts".
Author's narrative instances direct the partition of “Asobi” collection towards three series-sequences with suggestive designations: “Clearing”, “Reawakening”, “Emptying”.
In the images belong to “Clearing" series is arguable the evanescence of the naive question << what I'm looking at?>>. Disciplined visual purifications can symbolize the rigorous suspension of judgment on the significance of what appears and the distance between the spectator and the usual codes which define the reality - automatic access to the world of life - thus deferring to an uncanny “visual-semantic catharsis”.
In “Reawakening” series perceptive loosening becomes “insight”, optical “koan” able to influence the cognitive torpor of the spectator.
The works of this series face the problem of the autoconsolatory abandonment to allude to the renewal of subjective interpretive models.
Finally, the lightness and flight of "Emptying" series. Not escape into mystical states of altered perception of conscience or simple rejection of the natural language ways, but path of knowledge preparatory to the agreement with original Being or "Arché", never so hidden by techniques and linguistic-symbolic obsessions and never so accessible to those who dare a path in ineffability.
In “Asobi”, this theme is proposed by effective visual narratives and openings to subtle involvement for the spectator interested in exploring harmonies in the essential "continuum" of immanence.
Maurizio Righi
Clinical Philosopher
The images of the “Asobi” collection refer to the issue of the use of tools and techniques of human visual communication, the semiotic valences involved - indexes, icons, symbols - and the consequent philosophical problematization. The Artist renounces the use of concept of “sign” in symbolic meaning - where the symbol means the equivalence between sign and content or between image and definition – and this clearly opens the spectator to an "abstract" visual experience. This decisive option allows critical evaluation of the works by an indexical perspective - where the sign is intended as an indication of something else other than himself or inference - and then focus on the “movements” and references of these to "relevant contexts".
Author's narrative instances direct the partition of “Asobi” collection towards three series-sequences with suggestive designations: “Clearing”, “Reawakening”, “Emptying”.
In the images belong to “Clearing" series is arguable the evanescence of the naive question << what I'm looking at?>>. Disciplined visual purifications can symbolize the rigorous suspension of judgment on the significance of what appears and the distance between the spectator and the usual codes which define the reality - automatic access to the world of life - thus deferring to an uncanny “visual-semantic catharsis”.
In “Reawakening” series perceptive loosening becomes “insight”, optical “koan” able to influence the cognitive torpor of the spectator.
The works of this series face the problem of the autoconsolatory abandonment to allude to the renewal of subjective interpretive models.
Finally, the lightness and flight of "Emptying" series. Not escape into mystical states of altered perception of conscience or simple rejection of the natural language ways, but path of knowledge preparatory to the agreement with original Being or "Arché", never so hidden by techniques and linguistic-symbolic obsessions and never so accessible to those who dare a path in ineffability.
In “Asobi”, this theme is proposed by effective visual narratives and openings to subtle involvement for the spectator interested in exploring harmonies in the essential "continuum" of immanence.
Maurizio Righi
Clinical Philosopher
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