Red Puddings and Blue Mothers Artworks in oil and mixed techniques on canvas, paper or wood (1994)
Red Puddings and Blue Mothers è la mia prima serie di opere con un tema coerente: uscire dall’inquadratura.
The allegory is developed on the semantics of two kinds of framing:
- the social framing, to which we are all addressed in the training period
- the framing of the artistic image, that is the visual composition inside the picture.
To put it more poetically, the Red Puddings emerge young and unleashed by their Blue Mothers in a dynamic birth: the naive young people try to exploit the push to launch themselves in every direction and explore the world. Unfortunately, the Mothers have chosen to live in a restricted space: the picture. This limits their freedom, and forces their offspring to the same imprisonment.
Widely inspired by the Surrealist Masters both in form (biomorphism, dynamism) and concept (metaphysics, abstraction, Freudian psychology), these artworks represent my official entry into the Artistic adventure.
The influence of Salvador Dali, Max Ernst, De Chirico and Yves Tanguy, just to name a few, will always remain in my imagination, evolving in other figurative and conceptual research.
Read the original presentation (1994)
Soft shapes that blend into each other, that play in an often indefinite space, that struggle with each other, that struggle with the unreal figured space and with the material space of the pictorial support.
My puddings are the figurative manifestation of a feeling of softness that is never enough, of a continuous flow that I feel inside and outside of me, if this distinction is possible, of waves that don't want to stop but that often give in to the laws of reality; of a reality that often gives in to the rules of madness, in which the players fight an endless battle just for the sake of contrast. Or perhaps for the simple pleasure of continuing to play.
Two words that have fundamental importance: taste and play; two concepts that have lost their cathartic meaning, or have been forgotten; or they are just two words that mean something special to me, two stupid sets of vowels and consonants in which I see Life, the one with a uppercase L, and in which I focus that energy that expands and recovers in every being worthy of this epithet.
And just "beings" can be defined my puddings, both figurative and abstract, both solid and liquid, both animal, vegetable and mineral. Both young and old, both male and female (even if sometimes they assume a sexual appearance), the only certainty they give about the most common dualisms is that they are alive and not dead.
Another distinction that often comes to mind concerns the different breeds, which are mainly red and blue: in their first manifestations this diversity was quite clear: the Red Puddings, with their rebellious nature and strong temperament, were given birth by the Blue Mothers, much more calm and inserted in the context of the work, to launch themselves in a desperate attempt to overcome the symbolic barriers of the painting, both representative and material.
The concept of framing was at the basis of this allegorical world: figuratively, the representation of a landscape that was both alienating and hostile at the same time, populated by strange entities that forced the Red Puddings to abrupt changes of flow and gave stability to the Blue Mothers, was an imaginative metaphor of society, while the limit given by the material dimensions of the painting, from which the Reds tried to escape, created a link between their dimension and ours.The framing thus simultaneously assumes the role of a distorted mirror, a portal and a strocation between the real and the ideal. The framing thus took on the role of a distorted mirror, a portal and a bottleneck between the real and the ideal.
Over time a very particular evolution has affected the two races: they have in fact begun to manifest themselves in the various stages of their existence, beginning to show themselves more intimately in synergy and often becoming accomplices as independent of each other; sometimes they transcend their respective identities, others live moments of introspection confused by an atmosphere in which the spirit of the antagonist hovers as symbols of a unique and unspeakable ideal; sometimes they are tentacular monsters that compete for existential space, others are rarefied currents that express their feelings by osmosis; sometimes they are so complex that they look confused, others amaze for the strong impact given by their synthetic simplicity.
My puddings manage to manifest themselves through automatism and gestures. The technical-material research of representation is (and will continue to be) fundamental to let these waves of energy flow in the most spontaneous way possible: oil, enamel, infinite self-produced polymaterial mixtures, brushstrokes and splices, the most disparate rigid panels, canvases and papers, every little factor has always revealed new facets of this alternative reality.
Some more significant, others more hermetic, these representations of the universe of puddings do not claim to be understood in their individuality, just as every single event of our life would have no meaning outside of our totality. Just as it is impossible to really know a person, only with a universal vision given by a sixth sense, by an unconscious perception we can reach this reality in which every living being is a tangible flow of energy.